{"id":10063,"date":"2018-08-25T15:04:20","date_gmt":"2018-08-25T22:04:20","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=10063"},"modified":"2018-08-25T16:03:37","modified_gmt":"2018-08-25T23:03:37","slug":"wayne-shorter-at-85","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/08\/wayne-shorter-at-85\/","title":{"rendered":"Wayne Shorter At 85"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/08\/wayneshorterquartet_wide-01acf2df19bd340f5677711a0cd5ad44a329b961-e1535233587349.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10064 aligncenter\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/08\/wayneshorterquartet_wide-01acf2df19bd340f5677711a0cd5ad44a329b961-e1535233587349.jpg\" alt=\"\" width=\"250\" height=\"140\" \/><\/a><\/p>\n<p>Today is Wayne Shorter\u00e2\u20ac\u2122s 85th birthday. The saxophonist and composer\u00e2\u20ac\u2122s professional debut was in a brief 1950s stint with Horace Silver. Following service in the Army, he became a key soloist in Maynard Ferguson\u00e2\u20ac\u2122s big band, then entered a long, productive period as Art Blakey\u00e2\u20ac\u2122s music director. In the Miles Davis Quintet in the \u00e2\u20ac\u02dc60s he became increasingly important as a soloist and as the composer of pieces including \u00e2\u20ac\u0153E.S.P.,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Fall,\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Sanctuary\u00e2\u20ac\u009d that quickly became established in the repertoires of musicians around the world. In 1970, Shorter and pianist Joe Zawinul founded the band called Weather Report, for which Shorter composed further pieces that became jazz standards.<\/p>\n<p>Let\u00e2\u20ac\u2122s listen to Shorter compositions from widely spaced periods of his career.<br \/>\nFirst: \u00e2\u20ac\u0153One By One\u00e2\u20ac\u009d with the Blakey group from the album <a href=\"https:\/\/amzn.to\/2wfImPE\"><em>Ugetsu<\/em><\/a>. The band\u00e2\u20ac\u2122s front line was Shorter on tenor saxohone, trumpeter Freddie Hubbard and trombonist Curtis Fuller.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/PSo2qaAnit0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Now, here\u00e2\u20ac\u2122s Shorter last year at Italy\u00e2\u20ac\u2122s Umbria Jazz festival, playing soprano saxophone, with Clark Undell conducting an arrangement of Shorter\u00e2\u20ac\u2122s \u00e2\u20ac\u0153The Three Marias.\u00e2\u20ac\u009d The other members of his quartet\u00e2\u20ac\u201dDanilo Perez, piano; John Patitucci, bass; and Brian Blade, drums\u00e2\u20ac\u201dwere incorporated into the massive orchestra.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/EeKcRo8xLQY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div style=\"text-align: left;\">Happy birthday, Wayne Shorter\u00e2\u20ac\u201dand many more.<\/div>\n<div style=\"text-align: left;\">\n<div><\/div>\n<div><em>(In the original post of this piece, a typographical error resulted in a wrong date regarding Shorter&#8217;s time with Miles Davis. It was in the 1960s, not the &#8217;70s. Several readers caught the error. <\/em><em>The post has been corrected. T<\/em><em>hank you all. What would I do without you?)&#8221;\u00a0<\/em><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Today is Wayne Shorter\u00e2\u20ac\u2122s 85th birthday. The saxophonist and composer\u00e2\u20ac\u2122s professional debut was in a brief 1950s stint with Horace Silver. Following service in the Army, he became a key soloist in Maynard Ferguson\u00e2\u20ac\u2122s big band, then entered a long, productive period as Art Blakey\u00e2\u20ac\u2122s music director. In the Miles Davis Quintet in the \u00e2\u20ac\u02dc60s [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":10064,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-10063","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10063","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=10063"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10063\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/10064"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=10063"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=10063"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=10063"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}