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Wayne Shorter

 
Britannica Concise Encyclopedia:

Wayne Shorter

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(born Aug. 25, 1933, Newark, N.J., U.S.) U.S. saxophonist and composer. After studying at New York University and serving in the U.S. Army, he played with Art Blakey's group (1959 – 64), acting as its music director. Shorter then joined Miles Davis's remarkable mid-1960s group, which included Herbie Hancock, bassist Ron Carter (b. 1937), and drummer Tony Williams (1945 – 97). In 1970 Shorter and Joe Zawinul (1932 – 2007) formed Weather Report, the most significant jazz-rock fusion band of the 1970s, with bassist Jaco Pastorius (1951 – 87). Shorter wrote many distinctive jazz standards.

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American Heritage Dictionary:

Shor·ter

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(shôr'tər) pronunciation, Wayne Born 1933.

American jazz saxophonist who was a leading figure in the hard bop and jazz rock movements.


Gale Musician Profiles:

Wayne Shorter

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Saxophonist, composer

Wayne Shorter is considered one of modern jazz's most influential saxophonists and among its most original composers. Shorter, a tenor and soprano saxophonist, rose to prominence in the early 1960s when, as Mark Gilbert stated in Jazz Journal International, he introduced innovations to jazz which "were not piecemeal additions or alterations to mainstream tradition, but rather embodied a wholesale shift in perspective." Len Lyons and Don Perlo in Jazz Portraits: The Lives and Music of the Jazz Masters described Shorter's distinct contributions: "His compositions, characterized by unusual chord sequences and economical, impressionistic melodies … portray images and sounds of his youth, foreign cultures, and films…. [While] as a saxophonist, Shorter developed a flexible, vocalized articulation and tone."

Shorter's diverse musical career includes distinguished work as a freelance musician, in addition to being a member of the Jazz Messengers, the Miles Davis Quintet, and Weather Report. Josef Woodard wrote in Musician that Shorter's "trademark approach, in which emotional fury is bound by a cool, linear economy, can be heard in altered or diluted form everywhere from James Newton to Branford Marsalis to George Howard."

Born into a family of non-musicians, Shorter grew up in Newark, New Jersey, and displayed an early fascination with sound, duplicating tracks of movies. He did not begin studying music, however, until the relatively late age of sixteen, when he took up the clarinet. Prior to his music studies, Shorter aspired to be a painter and sculptor, an ambition fueled after he won an art contest at a young age.

However, the "human interaction" of music swayed him away from art, and he became very interested in the be-bop music he heard on the nightly New York City radio program, Make Believe Ballroom. "I loved the energy and life of the music," he told Scott Yanow in Down Beat. "I couldn't wait to go to New York to see Bop City, the Bandbox, the Latin bands and the Palladium and Birdland. It seemed like being part of this music would initiate a lot of what I'd like to get out of life—a good time! But a good time with deep roots and meaning." Shorter began studying the saxophone and progressed quickly as a musician, to the point that while still in high school, he was invited to sit in with saxophonist Sonny Stitt. He had established a reputation as a budding talent with a fresh and adventurous sound; local musicians referred to him as "that kid from Newark."

Shorter moved to New York City after high school and received a degree in music education from New York University, where he frustrated music teachers by his mixing of music composition styles. Shorter continued to play locally, establishing connections that would serve him well when he was drafted into the U.S. Army in 1956. Shorter did gigs while he was in the Army, and was once asked to play at New York's Cafe Bohemia alongside such jazz greats as Oscar Pettiford, Art Blakey, Max Roach, and Jackie McLean. Shorter recalled to Yanow the importance of the event: "I was standing at the bar by the door, and Max Roach, whom I'd never met, came up to me and said, 'Hey, you're the kid from Newark…. Come on up and play,' he said. I did what I could but wondered what kind of contribution I could be making with all of these giants up there. I started to leave the stand, but someone grabbed me by the back of the shirt—I think it was Max—and he told me to play more. It was a great night for me."

Shorter got his first big break after the Army, when Art Blakey asked him to be musical director of his be-bop group, The Jazz Messengers. Under Blakey, Shorter was encouraged to develop his unusual compositions, and obtained much recording and concert experience. He also traveled around the world with the band, gaining experiences that would later figure into his appearance in the 1986 jazz film 'Round Midnight. Shorter played with the Miles Davis Quintet from 1964 to 1970, a period during which Lyons and Perlo stated he "reached maturity as a soloist." Throughout the 1960s, as Larry Kart reported in the Chicago Tribune, Shorter was considered "one of the most dangerous players to ever pick up a horn—a man whose solos were described by various critics as 'quietly maniacal' and 'clinically precise,' full of 'abrupt changes of mood' and 'wild satanic humor.'"

In 1970, Shorter and pianist Joe Zawinul founded Weather Report, a jazz/fusion group with which Shorter would play for the next fifteen years. A number of jazz commentators note that this period in Shorter's career saw much of his musical talent underutilized; Lyons and Perlo commented that "Shorter assumed an ensemble, texture-oriented role here." Shorter composed less with Weather Report and his previously active freelancing career diminished. In 1985, however, he broke away to form his own group—a move which delighted music enthusiasts who felt that Shorter's talents deserved more exposure. Shorter commented to Yanow about the decision to break away: "I just said to myself that if I don't do it now, I never will…. I've decided that it's time for me to be more sociable as a musician and, with this new band, to get around more."

Some felt this move was misguided. In the late 1990s, All Music Guide writer Richard S. Ginell opined that after his departure from Weather Report, Shorter "promptly went into a creative slump," characterizing his recordings of the late 1980s and early 1990s as "predictable and labored, saddled with leaden rhythm sections and overly complicated arrangements."

Shorter released Alegría, his first all-acoustic studio recording as a leader since 1967, in 2003. Musicians accompanying Shorter on Alegría include Danilo Perez, John Patitucci, and Brian Blade, all respected musicians in their own careers.

Shorter is known as an elusive conversationalist when talking about his career and music. Regarding the former, he told Yanow: "Describing music is very difficult. Eric Gravitt used to say that if he could describe how he played drums, he wouldn't need to play them. Music really has to be experienced. I used to try to explain to people what be-bop sounded like without playing a record. It can't be done. Members of our audience have called our music fresh, exhilarating, happy, hopeful, I even heard the word young—meaning enthusiastic."

A practicing Buddhist, Shorter is philosophical about the future direction of his music. Asked whether creativity is his primary guide, Shorter responded to Woodard: "The forces of the phantom navigator, to me, are a part of every human life…. Whether you're aware of it or not. It's a dormant part, but a very essential entity—the center of the entity of whatever life is. Whether we're alive or dead, there's this navigator which is not devoid of ourselves, but is actually us."

Selected discography

As leader
Blues á la Carte, Affinity, 1959.
Introducing Wayne Shorter, Vee-Jay, 1959.
Second Genesis, Collectables, 1960.
Free Form, Koch, 1962.
Wayning Moments, Koch, 1962.
Night Dreamer, Toshiba, 1964.
Juju, Blue Note, 1964; reissued, 1984.
Speak No Evil, Blue Note, 1964.
The Soothsayer, Blue Note, 1965.
The Collector, Blue Note, 1965.
Etcetera, Blue Note, 1965; reissued, 1981.
The All Seeing Eye, Blue Note, 1965.
Adam's Apple, Blue Note, 1966; reissued, 1987.
Schizophrenia, Blue Note, 1968.
Supernova, Blue Note, 1970.
Moto Grosso Feio, Blue Note, 1970.
Odyssey of Iska, Blue Note, 1970.
Native Dancer, Columbia, 1974.
Atlantis, Columbia, 1986.
Phantom Navigator, Columbia, 1987.
Joy Ryder, Columbia, 1988.
High Life, Polygram, 1994.
Footprints Live!, Verve, 2002.
Alegría, Verve, 2003.

With The Jazz Messengers
Live Messengers, Blue Note, 1962.
Indestructible, Blue Note, 1964.
Free for All, Blue Note, 1964.
Roots & Herbs, Blue Note, 1969.

With Miles Davis
E.S.P., Columbia, 1965.
Nefertiti, Columbia, 1968.
In a Silent Way, Columbia, 1969.
Bitches Brew, Columbia, 1970.
Live at the Plugged Nickel, Columbia, 1982.

With Weather Report
Weather Report (1971), Sony, 1971.
I Sing the Body Electric, Columbia, 1972.
Live in Tokyo, Sony, 1972.
Sweetnighter, Columbia, 1973.
Mysterious Traveler, Columbia, 1974.
Tale Spinnin', Sony, 1975.
Black Market, Columbia, 1976.
Heavy Weather, Columbia, 1977.
Mr. Gone, Columbia, 1978.
8:30, Columbia, 1979.
Night Passage, Columbia, 1980.
Record, Columbia, 1982.
Weather Report (1982), Columbia, 1982.
Procession, Sony, 1983.
Domino Theory, Sony, 1983.
Sportin' Life, Columbia, 1984.
This is It!, Columbia, 1985.

Sources

Books
Lyons, Len, and Don Perlo, Jazz Portraits: The Lives and Music of the Jazz Masters, Morrow, 1989.

Periodicals
Billboard, June 8, 2002.
Chicago Tribune, November 17, 1985.
Daily Variety, August 8, 2003.

Down Beat, April 1986; August 2001; June 2002; July 2002; May 2003; August 2003; September 2003.
Financial Times, March 8, 2003.
Jazz Journal International, April 1986.
Knight Ridder/Tribune News Service, October 28, 2003.
Musician, October 1987; September 1988.
Sarasota Herald Tribune (Tampa, FL), October 27, 2002.

Online
"Wayne Shorter," All Music Guide, http://www.allmusic.com (December 20, 2003).
AMG AllMusic Guide: Pop Artists:

Wayne Shorter

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  • Genres: Jazz

Biography

Though some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz's leading figures over a long span of time. Though indebted to a great extent to John Coltrane, with whom he practiced in the mid-'50s while still an undergraduate, Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and, in later years, adding an element of funk. On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded. Shorter's influence as a player, stemming mainly from his achievements in the 1960s and '70s, has been tremendous upon the neo-bop brigade who emerged in the early '80s, most notably Branford Marsalis. As a composer, he is best known for carefully conceived, complex, long-limbed, endlessly winding tunes, many of which have become jazz standards yet have spawned few imitators.

Shorter started on the clarinet at 16 but switched to tenor sax before entering New York University in 1952. After graduating with a BME in 1956, he played with Horace Silver for a short time until he was drafted into the Army for two years. Once out of the service, he joined Maynard Ferguson's band, meeting Ferguson's pianist Joe Zawinul in the process. The following year (1959), Shorter joined Art Blakey's Jazz Messengers, where he remained until 1963, eventually becoming the band's music director. During the Blakey period, Shorter also made his debut on records as a leader, cutting several albums for Chicago's Vee-Jay label. After a few prior attempts to hire him away from Blakey, Miles Davis finally convinced Shorter to join his Quintet in September 1964, thus completing the lineup of a group whose biggest impact would leap-frog a generation into the '80s.

Staying with Miles until 1970, Shorter became at times the band's most prolific composer, contributing tunes like "E.S.P.," "Pinocchio," "Nefertiti," "Sanctuary," "Footprints," "Fall" and the signature description of Miles, "Prince of Darkness." While playing through Miles' transition from loose post-bop acoustic jazz into electronic jazz-rock, Shorter also took up the soprano in late 1968, an instrument which turned out to be more suited to riding above the new electronic timbres than the tenor. As a prolific solo artist for Blue Note during this period, Shorter expanded his palette from hard bop almost into the atonal avant-garde, with fascinating excursions into jazz/rock territory toward the turn of the decade.

In November 1970, Shorter teamed up with old cohort Joe Zawinul and Miroslav Vitous to form Weather Report, where after a fierce start, Shorter's playing grew mellower, pithier, more consciously melodic, and gradually more subservient to Zawinul's concepts. By now, he was playing mostly on soprano, though the tenor would re-emerge more toward the end of WR's run. Shorter's solo ambitions were mostly on hold during the WR days, resulting in but one atypical solo album, Native Dancer, an attractive side trip into Brazilian-American tropicalismo in tandem with Milton Nascimento. Shorter also revisited the past in the late '70s by touring with Freddie Hubbard and ex-Miles sidemen Herbie Hancock, Ron Carter, and Tony Williams as V.S.O.P.

Shorter finally left Weather Report in 1985, but promptly went into a creative slump. Still committed to electronics and fusion, his recorded compositions from this point became more predictable and labored, saddled with leaden rhythm sections and overly complicated arrangements. After three routine Columbia albums during 1986-1988, and a tour with Santana, he lapsed into silence, finally emerging in 1992 with Wallace Roney and the V.S.O.P. rhythm section in the "A Tribute to Miles" band. In 1994, now on Verve, Shorter released High Life, a somewhat more engaging collaboration with keyboardist Rachel Z.

In concert, he has fielded an erratic series of bands, which could be incoherent one year (1995), and lean and fit the next (1996). He guested on the Rolling Stones' Bridges to Babylon in 1997, and on Herbie Hancock's Gershwin's World in 1998. In 2001, he was back with Hancock for Future 2 Future and on Marcus Miller's M². Footprints Live! was released in 2002 under his own name, followed by Alegría in 2003 and Beyond the Sound Barrier in 2005. Given his long track record, Shorter's every record and appearance are still eagerly awaited by fans in the hope that he will thrill them again. Blue Note Records released Blue Note's Great Sessions: Wayne Shorter in 2006. ~ Richard S. Ginell, Rovi
Wikipedia on Answers.com:

Wayne Shorter

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Wayne Shorter

Convocation Hall, Toronto, Nov. 27, 1977. Photo courtesy of Jean-Luc Ourlin
Background information
Born August 25, 1933 (1933-08-25) (age 78)
Newark, New Jersey, United States
Genres Modal jazz, crossover jazz, post-bop, hard bop, jazz fusion, Third Stream
Occupations Musician, composer
Instruments Saxophone
Years active 1958–present
Labels Blue Note, Columbia, Verve
Associated acts Art Blakey, Miles Davis, Weather Report

Wayne Shorter (born August 25, 1933) is an American jazz saxophonist and composer.

He is generally acknowledged to be jazz's greatest living composer,[1] and many of his compositions have become standards. Shorter's output has earned worldwide recognition, critical praise and various commendations, including multiple Grammy Awards.[2]

Shorter first came to wide prominence in the late 1950s as a member of, and eventually primary composer for, Art Blakey's Jazz Messengers. In the 1960s, he went on to join Miles Davis's second great quintet, and from there he co-founded the jazz fusion band Weather Report. He has recorded over 20 albums as a bandleader.

Contents

Biography

Early life and career

Shorter was born in Newark, New Jersey, and attended Newark Arts High School[3] from which he graduated in 1952. He loved music, being encouraged by his father to take up the saxophone as a teenager (his brother Alan became a trumpeter). After graduating from New York University in 1956, Shorter spent two years in the U.S. Army, during which time he played briefly with Horace Silver. After his discharge from the army, he played with Maynard Ferguson. It was in his youth that Shorter was given the nickname Mr. Gone, which would later become an album title for Weather Report.[4]

In 1959, Shorter joined Art Blakey. He stayed with Blakey for five years, and eventually became musical director for his group.

With Miles Davis (1964–1970)

When John Coltrane finally left Miles Davis' band in 1960 to pursue his own group (after previously trying to leave in 1959), Coltrane proposed Wayne Shorter as a replacement but Shorter was unavailable and Davis went with Sonny Stitt on tenor followed by a revolving door of Hank Mobley, George Coleman, and Sam Rivers. In 1964, Miles Davis persuaded Shorter to leave Blakey and join his quintet alongside Herbie Hancock, Ron Carter and Tony Williams.

Miles' so-called "second great quintet" (to distinguish it from the quintet with Coltrane) that included Hancock and Shorter has frequently been cited by musicians and critics as one of the most influential groups in the history of jazz, and Shorter's compositions are a primary reason. He composed extensively for Miles Davis (e.g. "Prince of Darkness", "E.S.P.", "Footprints", "Sanctuary", "Nefertiti", and many others); on some albums, he provided half of the compositions, typically hard-bop workouts with spaced-out long melody lines above the beat.

Herbie Hancock said of Shorter's tenure in the group, "The master writer to me, in that group, was Wayne Shorter. He still is a master. Wayne was one of the few people who brought music to Miles that didn't get changed."[citation needed] Davis said, "Wayne is a real composer. He writes scores, write the parts for everybody just as he wants them to sound... Wayne also brought in a kind of curiosity about working with musical rules. If they didn't work, then he broke them, but with musical sense; he understood that freedom in music was the ability to know the rules in order to bend them to your own satisfaction and taste."[5]

Shorter remained in Davis's band after the breakup of the quintet in 1968, playing on early jazz fusion recordings including In a Silent Way and Bitches Brew (both 1969). His last live dates and studio recordings with Davis were in 1970.

Until 1968, he played tenor saxophone exclusively. The final album on which he played tenor in the regular sequence of Davis albums was Filles de Kilimanjaro. In 1969, he played the soprano saxophone on the Davis album In a Silent Way and on his own Super Nova (recorded with then-current Davis sidemen Chick Corea and John McLaughlin). When performing live with Miles Davis, and on recordings from summer 1969 to early spring 1970, he played both soprano and tenor saxophones; by the early 1970s, however, he chiefly played soprano.

Solo Blue Note recordings

Simultaneous with his time in the Miles Davis quintet, Shorter recorded several albums for Blue Note Records, featuring almost exclusively his own compositions, with a variety of line-ups, quartets and larger groups including Blue Note favourites such as Freddie Hubbard. His first Blue Note album (of nine in total) was Night Dreamer, recorded at Rudy Van Gelder's studio in 1964 with Lee Morgan, McCoy Tyner, Reggie Workman and Elvin Jones.

JuJu and Speak No Evil are well known recordings from this era. Shorter's compositions on these albums are notable for their use of[original research?]:

  • pentatonic melodies harmonised with pedal points and complex harmonic relationships;
  • structured solos that reflect the composition's melody as much as its harmony;
  • long rests as an integral part of the music, in contrast with other, more effusive, players of the time such as John Coltrane.

The later album The All Seeing Eye was a free-jazz workout with a larger group, while Adam's Apple of 1966 was back to carefully constructed melodies by Shorter leading a quartet. Then a sextet again in the following year for Schizophrenia with his Miles Davis band mates Hancock and Carter plus trombonist Curtis Fuller, alto saxophonist/flautist James Spaulding and strong rhythms by drummer Joe Chambers. These albums have recently been remastered by Rudy Van Gelder.

Shorter also recorded occasionally as a sideman (again, mainly for Blue Note) with Donald Byrd, McCoy Tyner, Grachan Moncur III, Freddie Hubbard, Lee Morgan, and bandmates Hancock and Williams.

Weather Report (1971–1985)

Shorter with Weather Report in Amsterdam, in 1980

Following the release of Odyssey of Iska in 1970, Shorter formed the fusion group Weather Report with Miles Davis veteran keyboardist Joe Zawinul. The other original members were bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. After Vitous' departure in 1973, Shorter and Zawinul co-led the group until the band's break-up in late 1985. A variety of excellent musicians that would make up Weather Report alumni over the years (most notably the revolutionary bassist Jaco Pastorius) helped the band produce many high quality recordings in diverse styles through the years, with funk, bebop, Latin jazz, ethnic music, and futurism being the most prevalent denominators.

Solo

Shorter also recorded critically acclaimed albums as a bandleader, notably Native Dancer, which featured his Miles Davis band-mate Herbie Hancock and Brazilian composer and vocalist Milton Nascimento. Shorter was to work with both of these musicians again later.

On the title track of Steely Dan's 1977 album Aja, he played a solo that moved the critic writing the album's liner notes to call it "suitable for framing". Concurrently, in the late 1970s and the early 1980s, he toured in the V.S.O.P. quintet. This group was a revival of the 1960s Miles Davis quintet, except that Freddie Hubbard filled the trumpet chair instead of Miles. Shorter appeared with the same former Davis bandmates on the Carlos Santana double LP The Swing of Delight, for which he also composed a number of pieces.

From 1977 through 2002, he appeared on ten Joni Mitchell studio albums, gaining him a wider audience.

Shorter performing. Photo by Tom Beetz.

Recent career

After leaving Weather Report, Shorter continued to record and lead groups in jazz fusion styles, including touring in 1988 with guitarist Carlos Santana, who appeared on This is This!, the last Weather Report disc. In 1989, he contributed to a hit on the rock charts, playing the sax solo on Don Henley's song "The End of the Innocence" and also produced the album Pilar by the Portuguese singer-songwriter Pilar Homem de Melo. He has also maintained an occasional working relationship with Herbie Hancock, including a tribute album recorded shortly after Davis's death with Hancock, Carter, Williams and Wallace Roney. He continued to appear on Joni Mitchell's records in the 1990s. Shorter's distinctive sound is also apparent in the soundtrack for the Harrison Ford film The Fugitive, released in 1993.

In 1995, Shorter released the album High Life, his first solo recording for seven years. It was also his debut as a leader for Verve Records. Shorter composed all the compositions on the album and co-produced it with the bassist Marcus Miller. High Life received the Grammy Award for best Contemporary Jazz Album in 1997.

Shorter worked with Hancock once again in 1997, on the much acclaimed and heralded album 1+1. The song "Aung San Suu Kyi" (named for the Burmese pro-democracy activist) won both Hancock and Shorter a Grammy Award.

In 2009, he was announced as one of the headline acts at the Gnaoua World Music Festival in Essaouira, Morocco.

Quartet

The Wayne Shorter Quartet at the Teatro degli Arcimboldi, Milan, 2010

Shorter formed his current band in 2000, the first permanent acoustic group under his leadership, a quartet with young musicians, pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade, playing his own complex compositions, many of them reworkings of tunes from his substantial portfolio going back to the 1960s. Two albums of live recordings featuring this quartet have been released, Footprints Live! (2002) and Beyond the Sound Barrier (2005). The quartet has received great acclaim from fans and critics, especially for the strength of Shorter's tenor saxophone playing. The Shorter biography Footprints: The Life and Work of Wayne Shorter by journalist Michelle Mercer contains an insight into the working life of these musicians as well as insight into Shorter's life, thoughts and Buddhist beliefs.[6] Beyond the Sound Barrier received the 2006 Grammy Award for Best Instrumental Jazz Album.

Shorter's 2003 album Alegría (his first studio album for ten years, since High Life) received the 2004 Grammy Award for Best Instrumental Jazz Album; it features the quartet with a host of other musicians, including pianist Brad Mehldau, drummer Terri Lyne Carrington and former Weather Report percussionist Alex Acuña. Shorter's compositions, some new, some reworked from his Miles Davis period, feature the complex Latin rhythms that Shorter specialised in during his Weather Report days.

Personal life

Shorter married Teruka (Irene) Nakagami, in the 1960s; they met in 1961 and later had a child, Miyako.[7] Some of his compositions are copyrighted as "Miyako Music". Shorter dedicated some pieces to his daughter: "Miyako" and "Infant Eyes". The couple separated in 1964.[8]

Shorter met Ana Maria in 1964 and they were married in 1970.[8] In 1986, their daughter Iska died of a grand mal seizure at age 14.[1] Ana Maria and the couple's niece Dalila were both killed in 1996 on TWA Flight 800 while en route to see him in Italy. Dalila was also the daughter of the jazz vocalist Jon Lucien who was married to Shorter's sister.[8] Shorter married Carolina Dos Santos, a close friend of Ana Maria, in 1999. He is a Nichiren Buddhist and a member of Sōka Gakkai.[8]

Discography

Main article: Wayne Shorter discography
Title Year Label
Introducing Wayne Shorter 1959 Vee-Jay
Second Genesis 1960 Vee-Jay
Wayning Moments 1962 Vee-Jay
Night Dreamer 1964 Blue Note
JuJu 1964 Blue Note
Speak No Evil 1965 Blue Note
The Soothsayer 1965 Blue Note
Et Cetera 1965 Blue Note
The All Seeing Eye 1965 Blue Note
Adam's Apple 1966 Blue Note
Schizophrenia 1967 Blue Note
Super Nova 1969 Blue Note
Moto Grosso Feio 1970 Blue Note
Odyssey of Iska 1970 Blue Note
Native Dancer with Milton Nascimento 1974 Columbia
Atlantis 1985 Columbia
Phantom Navigator 1986 Columbia
Joy Ryder 1988 Columbia
Carlos Santana and Wayne Shorter - Live at the Montreux Jazz Festival 1988 with Carlos Santana 1988 Image Entertainment
High Life 1995 Verve
1 + 1 with Herbie Hancock 1997 Verve
Footprints Live! 2002 Verve
Alegría 2003 Verve
Beyond the Sound Barrier 2005 Verve

Awards

References

  1. ^ a b Ratliff, Ben. The New York Times. http://topics.nytimes.com/topics/reference/timestopics/people/s/wayne_shorter/index.html. 
  2. ^ The New York Times: "Times Topics" listing
  3. ^ A Brief History, Newark Arts High School. Accessed August 10, 2008.
  4. ^ The Big Takeover: Weather Report – Forecast: Tomorrow (Columbia Legacy) :
  5. ^ Davis, Miles; Troupe, Quincy (1990). Miles: The Autobiography. Simon and Schuster. p. 274. ISBN 0671725823. 
  6. ^ "Footprints: The Life and Work of Wayne Shorter". allaboutjazz.com. http://www.allaboutjazz.com/php/article.php?id=15937. Retrieved November 19, 2010. 
  7. ^ http://100greatestjazzalbums.blogspot.com/2006/07/speak-no-evil-wayne-shorter-blue-note.html
  8. ^ a b c d "A Separate Peace". People. http://www.people.com/people/archive/article/0,,20122768,00.html. Retrieved February 21, 2010. 

External links

Wikimedia Commons has media related to: Wayne Shorter
Wayne Shorter
Vee-Jay albums
Blue Note albums
Columbia albums
Verve albums
Collaborative albums
Live albums
Compositions

"Mahjong" • "Footprints"
Related articles
Weather Report
Joe Zawinul • Wayne Shorter • Miroslav Vitouš • Airto Moreira  • Alphonse Mouzon • Dom Um Romão • Eric Gravatt • Greg Errico • Alphonso Johnson • Ishmael Wilburn • Skip Hadden • Alyrio Lima • Leon "Ndugu" Chancler • Chester Thompson • Jaco Pastorius • Alex Acuña • Don Alias • Manolo Badrena • Peter Erskine • Erich Zawinul • Robert Thomas Jr. • Omar Hakim • Victor Bailey • Jose Rossy • Mino Cinelu • Narada Michael Walden • Kirk Whalum
Studio albums
Live albums
Compilations
The Collection • Best of Weather Report • Forecast: Tomorrow
Singles
"125th Street Congress"/"Will" • "Boogie Woogie Waltz" • "Birdland" • "River People" • "Procession"/"Where the Moon Goes"
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