{"id":7684,"date":"2016-07-27T22:29:23","date_gmt":"2016-07-28T05:29:23","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7684"},"modified":"2016-07-27T22:29:23","modified_gmt":"2016-07-28T05:29:23","slug":"recent-listening-in-brief-zeitlin-on-shorter","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/07\/recent-listening-in-brief-zeitlin-on-shorter\/","title":{"rendered":"Recent Listening In Brief: Zeitlin On Shorter"},"content":{"rendered":"<p><strong>Denny Zeitlin<\/strong>, <a href=\"http:\/\/amzn.to\/2aro4rG\"target=\"_blank\"><em>Solo Piano: Early Wayne<\/em><\/a> (Sunnyside)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/Unknown.jpeg\" alt=\"Unknown\" width=\"220\" height=\"220\" class=\"alignleft size-full wp-image-7685\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/Unknown.jpeg 220w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/Unknown-150x150.jpeg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/Unknown-100x100.jpeg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/Unknown-200x200.jpeg 200w\" sizes=\"auto, (max-width: 220px) 100vw, 220px\" \/>Over the years, Zeitlin has made clear his affinity for Wayne Shorter\u00e2\u20ac\u2122s compositions. In previous Sunnyside albums he explored the harmonic depths and structural challenges of \u00e2\u20ac\u0153Deluge\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Footprints,\u00e2\u20ac\u009d and in a MaxJazz CD more than a decade ago, the composer\u00e2\u20ac\u2122s seminal \u00e2\u20ac\u0153E.S.P\u00e2\u20ac\u009d. On <em>Early Wayne<\/em>, Zeitlin expands his appreciation of Shorter. He revisits \u00e2\u20ac\u0153E.S.P.\u00e2\u20ac\u009d&#8212;including an attention-getting passage of neo-stride piano&#8212;and plays nine other Shorter pieces. He finds freshness in music that already has an aura of modernity despite Shorter\u00e2\u20ac\u2122s having written most of it decades ago. Zeitlin unleashes his imagination and formidable technique in interpretations of \u00e2\u20ac\u0153Speak No Evil,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Nefertiti,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Infant Eyes,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Teru,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Toy Tune,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Paraphernalia,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Miyako,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Ju Ju\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Ana Maria,\u00e2\u20ac\u009d Shorter&#8217;s moving tribute to his wife, who died in a 1996 plane crash.  They are all first and only takes, performed before an audience at the Piedmont Piano Company in Oakland, California. The piano sound, recorded by Vadim Canby, complements the personal qualities of Zeitlin\u00e2\u20ac\u2122s performance and Shorter\u00e2\u20ac\u2122s compositions. This is an important addition to Zeitlin&#8217;s discography, and to the growing list of recordings honoring Shorter, who turns 83 next month.     <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Denny Zeitlin, Solo Piano: Early Wayne (Sunnyside) Over the years, Zeitlin has made clear his affinity for Wayne Shorter\u00e2\u20ac\u2122s compositions. In previous Sunnyside albums he explored the harmonic depths and structural challenges of \u00e2\u20ac\u0153Deluge\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Footprints,\u00e2\u20ac\u009d and in a MaxJazz CD more than a decade ago, the composer\u00e2\u20ac\u2122s seminal \u00e2\u20ac\u0153E.S.P\u00e2\u20ac\u009d. On Early Wayne, Zeitlin expands [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"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-7684","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7684","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=7684"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7684\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}