John Fordham ist übrigens begeistert vom ersten Volumen der „Wayne Shorter Celebration“, einem Mitschnitt aus Stockholm 2014.
When Shorter heard Celebration Volume 1, recorded in Stockholm in 2014, he knew at once that it should be the centrepiece of his legacy collection – a eureka moment his wife Carolina eloquently describes in the liner notes. It’s easy to hear why. Perez and Patitucci toy with each other’s propositions on Zero Gravity to the 15th Dimension, before Shorter’s smoky tenor enters the bassist’s dark bowed chords. The 1919 hit Smilin’ Through swells into a Coltranesque reverie of rumbling drums and twisting slivers of tenor lyricism; Shorter’s tenor on his own Orbits hoots and ripples its way out of ensemble hooks and drum punctuation into free-swing, then a squalling soprano-sax-and-drums crescendo.
The Irish folk song She Moves Through the Fair becomes a quiet odyssey of subtle bass reflections, Blade’s bustling brushwork, Perez’s mercurially darting melodies, and haunting high-tenor phrasing. At times, Celebration Volume 1 can seem more like a Buddhist meditation than a jazz album – yet it’s full of the enthralling purposefulness that was this foursome’s calling card.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba