Enough said? No, I’m afraid I can’t help but gush about my favorite jazz album.
I can’t figure why this album seems to sometimes be lumped in with the “avant-garde”, because all of it is eminently listenable. In fact, perhaps what makes this record so uniquely great is how consistently accessible and ear-pleasing it is, yet never shallow, commercial or boring. The tunes are uniformly fantastic, the charts always interesting, and the playing is wonderfully subtle and dynamic all around; perfect moments of musical interaction abound. Highlights include the irresistibly swinging “Fee-Fi-Fo-Fum”, the intriguingly geometric and mysterious “Dance Cadaverous”, and the breathtakingly gorgeous ballad “Infant Eyes”.
Wayne Shorter mixed-and-matched a lot with his ensembles as a leader, never recording an album with the same band twice, leading bands anywhere from a quartet to a sextet (and the odd octet). But on Speak No Evil he seems to have hit on the perfect band for his music. All props and praise to McCoy Tyner, who also recorded a lot with Wayne, but Herbie Hancock, with his inimitable subtleties and tonal shadings, is the perfect pianist to accompany Wayne. Elvin Jones on drums is a welcome addition to any lineup, needless to say. He really accentuates and underlines the *swing* inherent in the tunes here. The bright tone and spry exuberance of Freddie Hubbard on trumpet is a perfect counterpoint to Shorter’s somewhat melancholy lyricism. Ron Carter anchors the bass quite admirably with a lot of nice touches of syncopation, but he’s not as noticeable as he would later be with the Miles Davis Quintet.
I just can’t say enough about this LP. It is gorgeous, it is stunning, it is perfect jazz. —Micah