Speak No Evil
Wayne Shorter is one of the most enigmatic figures in jazz, a man whose writing and playing are simultaneously adventurous and ravishing, daring
and accessible. Recorded in late 1964, just after Shorter joined Miles Davis' Quintet, SPEAK NO EVIL finds Shorter with two of his new Davis
bandmates -- pianist Herbie Hancock and bassist Ron Carter -- along with fiery trumpeter Freddie Hubbard and drumming wizard Elvin Jones. It
features six magnificent compositions -- "Witch Hunt," "Infant Eyes," "Fee-Fi-Fo-Fum," "Dance Cadaverous," "Wild Flower" and the title tune --
that allow the players a measure of rhythmic and harmonic flexibility within their tightly-wound, oddball structures, an alternative approach to that most abused of '60s jazz words, "freedom." Everybody plays majestically, particularly Shorter, whose tenor sound is a thing of velvety beauty -- his solos are elegant, mysterious and deceptively
sophisticated. The influence of Shorter's 1960s Blue Note albums -- of which this is the high point -- still courses powerfully through jazz.