This spring the Wayne Shorter Quartet returned to the SFJAZZ center, and we at CatSynth returned to see them.
[Wayne Shorter Quartet at SFJAZZ. Photo by Bill Evans. Via SFJAZZ on Instagram]
In addition to Mr Shorter, the quartet included Danilo Perez on piano and John Patitucci on bass. Terri Lyne Carrington sat in on drums in place of Brian Blade. Carrington is a longtime collaborator with Shorter, but she brought a very different energy to the quartet than Blade did when we saw them in 2015. The result was a more lush and melodic rhythm line that was in sharp contrast to Blade’s more minimalist rhythms. It was, however, Perez who shown brightest on this particular night with a virtuosic and athletic piano performance throughout. Perez’s long fast runs contrasted with Shorter’s very spare and minimal style as they danced around both classic and new tunes, never really presenting the heads in their entirety but hinting at them enough for many of us in the audience to pick up on what was happening. More than one tune was completely framed by Perez’s piano solos. Nonetheless, it was still Wayne Shorter holding court in the middle of the stage, each spare note from his instruments placed carefully.
Not surprisingly, it was a full house at the Miner Auditorium that evening; and the audience got what they came for in seeing a living legend of jazz but also experiencing new music at the same time. As in 2015, the quartet played new compositions in addition to older well-known tunes. It’s great to see someone of Wayne Shorter’s stature and long career continuing to break new musical ground in live performances.
Just before departing for NAMM back in January, we had the opportunity to attend the SFJAZZ Gala honoring Zakih Hussain with a lifetime achievement award.
One of the unexpected guests of the evening was a torrential rain that peaked just as we were arriving. This video from our Instagram gives a small taste.
But inside it was warm, the drinks were flowing, the music was as expected. We had seats in the bleachers which provided an excellent view of the stage. And the backs of the musicians, including the maestro himself.
You can see a much better view of Zakir Hussain performing with saxophonist John Handy is the Instagram photo from SFJAZZ.
It was a sweet and delightfully simple jam, which capped an evening of performances featuring the SFJazz Collective, saxophonists Joe Lovano and Joshua Redman, guitarist Bill Frisell, vocalist Mary Stallings, trumpeter Terence Blanchard, and drummer Cindy Blackman-Santana.
The award presentation itself was preceded by a tribute video made by Hussain’s daughters, which highlighted his genius as a musician and rhythmic master as well as his good humor and down-to-earth nature as a person. This was also apparent in his remarks upon accepting the award. (The same could not be said for the verbose and pretentious introduction by Mickey Hart.)
After the presentation, it was time to party, with more music and dancing filling the hall.
We didn’t stay too late because I was off to NAMM the next morning, but I am glad to have braved the storm to celebrate a great musician.
Last month I had the privilege of seeing the Wayne Shorter Quartet at the SFJAZZ Center.
Over the years, many of his compositions have become standards in the jazz world, and he has had a long and illustrious career with Art Blakey, Miles Davis Quintet, Weather Report, and more. In each case he has reinvented and reinvigorated his music, most recently with an all acoustic quartet featuring Danilo Pérez (piano), Brian Blade (drums), and John Patitucci on bass. It was this band that we saw on this occasion.
This band took a very original approach to Shorter’s compositions, some of which were very recent (there was a suggestion some the material was even new for the show). What made it most interesting was how subtle and sparse the music was, rarely did we hear a head or chord pattern in its entirety. The music was nonetheless extremely intricate and tight. There weren’t defined roles of a rhythm section and solo instrument in a traditional sense, but everyone took on every role, including Brian Blade’s drums. Especially when Wayne Shorter was playing, it affects the whole tenor of the proceedings (no pun intended). He would only play a few notes and then pause for a time, but those few were enough to take command of the direction of the song. But each musician had a role that transcended their instrument. Blade’s drumming could be at times quite forceful and his use of vocalizations quite curious, but these were moments of punctuation and in between he was very metric and even quiet at times with just enough hint of time to keep things moving. Danilo Pérez was a force of nature on the piano, and his pouring through reams of sheet music as he played was a reminder that these were fully formed compositions and not simply free improvisations.
The complexity and subtlety made it challenging even for seasoned fans to pick out the individual tunes. But we are pretty sure we heard an extended workout on Sanctuary (best known version appears on the B side of Bitches Brew); Aung San Suu Kyi (timely given the elections in Myanmar); and we thought that encore was an acoustic and distilled version of Joyrider. It was a perhaps funkier and more accessible way to send the audience off for the evening.