Wayne Shorter this weekend, featuring the late Larry Coryell in a concert recorded live at Montreux on July 20, 1990.
Here’s what Bluenote has to say about Wayne Shorter:
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 ’60s and ’70s, was 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.
And a few words about the Amazing Mr. Coryell via his Memorial site:
As one of the pioneers of jazz-rock — perhaps the pioneer in the ears of some — Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the ’60s and ’70s is missing on CD, tied up by the erratic reissue schemes of Vanguard, RCA and other labels, and by jazz-rock’s myopically low level of status in the CD era (although that mindset is slowly changing).
If you know about these two already, you aren’t reading this or do you need to – if you’re just discovering both of these legendary talents – hopefully this will prompt you to go exploring and discovering the very rich and fertile musical ground these two have walked on.
Go for it.