Wayne Shorters' current bass player?

[parrott]

Oh man, I'm just back from seeing them.



Whoa. That was awesome, it's gonna take some time to digest, I'm really not sure of it. It's awesome musicianship, definetly, as a band they were spot on.
The material was maybe a bit far out sometimes - occasionally, it seemed to bear more resemblance to modern classical music (erm...... recent stuff, but maybe some of the impressionists too, especially in the piano) than to jazz. And they wandered so far from the base of the song at times, and then with one hit from the snare, they were all back together as one.

I gave up trying to tap the beat when they started doing that.

Overall, it was pretty awesome, every one of them, from the start to the finish.



And it was Patitucci playing bass - almost all pizz, just a touch of bowing here and there, and he had the best live DB sound I've ever heard - full and round, and full of character.

Originally posted by Bruce Lindfield
Well...I would read Chris Fitzgerald's comments in my thread under DN Music - it is an acquired taste. There are few "tunes" and the vast majority of the performance is pretty "free" improvisation.

I'm not sure if I've aquired it... and it was mostly free improv? I could see a few sheets of paper on stage, for the bass and piano, but not for the drums or sax. That they kept it interesting all the way through..... whoa.

I thought Patitucci was awesome (!) though - great tone on Double Bass and his bowed playing was the best sound I've heard from a Jazz player - he was using a small Eden head like my WT300 with an EBS 2 X 10 - for the gear-a-holics among you!

He was using a Hartke 410 cab here, not sure about the head (I was waaaay to far back - row V).

 

[JimK]

Originally posted by parrott
And they wandered so far from the base of the song at times, and then with one hit from the snare, they were all back together as one.

That's what it's all about!

I agree with you on the Modern Classical comment, too. I try not to get so hung up on labels...many of the Free Jazz I like does seem to veer off into that territory.
...and trying to count is an exercise in futility!

BTW, since we're all warm & fuzzy about Shorter...don't forget his early Blue Note stuff-
The All-Seeing Eye would be my 1st pick!
(Wayne in an electrified setting? How 'bout Miles' It's About That Time/Live @The Fillmore East March 7, 1970, Awesome!)

 

[Bruce Lindfield]

Originally posted by JimK


That's what it's all about!

I agree with you on the Modern Classical comment, too. I try not to get so hung up on labels...many of the Free Jazz I like does seem to veer off into that territory.
...and trying to count is an exercise in futility!

BTW, since we're all warm & fuzzy about Shorter...don't forget his early Blue Note stuff-

I just got a Double CD called Wayne Shorter - Best of eth Blue Note Years - some great stuff -one is all tunes written by Wayne but released on albums by other leaders where he was playing - like with the Jazz Messengers . Then the other is a variety of things that he lead - great to hear the original of Footprints - very differnet to Miles band.

As to the earlier question Brian Blade was playing and he was very impressive - loved his rapport with Patitucci!

 

[Bruce Lindfield]

Originally posted by parrott
The material was maybe a bit far out sometimes - occasionally, it seemed to bear more resemblance to modern classical music (erm...... recent stuff, but maybe some of the impressionists too, especially in the piano) than to jazz.

Yes - I mentioned this in my review on the DB side - so one of Wayne's currenet "set" is "Valse Triste" by Sibelius!




Overall, it was pretty awesome, every one of them, from the start to the finish.



And it was Patitucci playing bass - almost all pizz, just a touch of bowing here and there, and he had the best live DB sound I've ever heard - full and round, and full of character.

So why is this on the BG side then !!!





He was using a Hartke 410 cab here, not sure about the head (I was waaaay to far back - row V).

Yeah it was definitely Eden and EBS in Brighton - he must be borrowing stuff as he goes - I was only surprised as he endiorses Aguilar and other stuff.

But in this case anyway - all the sound we were hearing was direct from the PA and I suppose he is only using the amp/cab as monitors really?

It was certainly the best amplified DB sound I've heard.

 

[moley]

Well I'm seeing him tonight - so I'll let you know tomorrow what I make of it

 

[parrott]

I just got a Double CD called Wayne Shorter - Best of eth Blue Note Years - some great stuff -one is all tunes written by Wayne but released on albums by other leaders where he was playing - like with the Jazz Messengers . Then the other is a variety of things that he lead - great to hear the original of Footprints - very differnet to Miles band.

I think I need to get myself a copy of that - is it available in the ordinary shops?

They were actually selling lots of CDs after the gig, on the way out, but I had no money on me, so I couldn't get one.

Yes - I mentioned this in my review on the DB side - so one of Wayne's currenet "set" is "Valse Triste" by Sibelius!

I don't think I've ever heard that, in its normal, classical guise. Actually, I think I've only heard one of the pieces he played last night before - he did one of the pieces off Heavy Weather (I can't remember what it was called, I haven't listened to that album much) and even then, it was so much drawn out and improvised on, only the "theme melody" was recognisable. And he only played that to signify the start and end of the piece.

Scary stuff.

So why is this on the BG side then !!!

Because Castle DB is even scarier stuff!

 

[moley]

I just got back from the Shorter gig.

Good stuff! Very good playing - and as Bruce said, it is very "contemporary" and very free. Having said which, there are grooves & tunes to lock onto - it's not completely free improv - and as parrott said, Pattituci & the pianist were using music.

I would have liked a little more swing, a little more 'straight Jazz' - as Bruce says, this stuff is an acquired taste - but it's all good.

And if I recall, they played what could loosely be called "Elegant People"

I can't say the same for the support act - "Two Way Traffic", however. This did appear to be half an hour or more (seemed longer) of completely free improvised music. The group consisted of Mark Mondasir on drums, Laurence Cottle on bass - as well as a variety of other instruments including recorders, violin, cello, trumpet, and keyboard.

At points during the support act's set, I found myself losing the will to live.

They were all clearly very good players - but I really didn't care for the sound they were making! It was basically wankery! There really wasn't anything to lock on to that I found - no harmony - and very little in the way of grooves.

Boring!!

Bruce & parrott - was this the same support act at the gigs you went to? What did you think of them?

EDIT: Oh, and I got Wayne's signature on my copy of Heavy Weather

 

[parrott]

Originally posted by moley

At points during the support act's set, I found myself losing the will to live.

They were all clearly very good players - but I really didn't care for the sound they were making! It was basically wankery! There really wasn't anything to lock on to that I found - no harmony - and very little in the way of grooves.

Boring!!

Bruce & parrott - was this the same support act at the gigs you went to? What did you think of them?

Here, it was three of the best from the Edinburgh scene - a trio, drums, DB and piano. I don't know their names, but I've seen them around a lot.

And they were fab - it's actually the fist time I've heard them, they were much more "old-school" Kind Of Blue-like jazz. Not a touch of the experimantation of the Shorter quartet. Just plain walking bass, standard jazz drums with the piano soloing over the top.


Answer to your question - no, obviously they weren't the same support act as you saw.

 

[Bruce Lindfield]

Different support act in Brighton as well!

 

[Peter McFerrin]

Isn't "Dance Cadaverous" basically a reworking of "Valse Triste?"