Wayne Shorter, Herbie Hancock

1+1

After years of listening to Wayne Shorter’s essential contributions to the Miles Davis group and his own Blue Note albums I noticed this album with Herbie Hancock, 1+1. I had been listening to a lot of Debussy and this duet album seemed like something I’d enjoy. Wayne plays soprano saxophone exclusively and  Herbie only plays acoustic piano. The tunes are pretty short and direct, reminding one more of classical chamber music than jazz. 1+1 could have been an ECM album!

I’ve heard a radio broadcast or two from this duo and the masters stretch out a bit, the result is more like what most folks would expect from this album.

Probably long out of print, I’m sure there’s plenty of used copies out there. Ignore the negative reviews on Amazon and All Music Guide and give this one a try. I’m glad I did.

AMG:

Beyond category or idiom, audacious in its very idea, Herbie Hancock and Wayne Shorter perform a little over an hour of spontaneous improvised duets for grand piano and soprano sax. That’s all — no synthesizers, no rhythm sections, just wistful, introspective, elevated musings between two erudite old friends that must have made the accountants at PolyGram reach for their Mylanta. Hancock’s piano is long on complex harmonies of the most cerebral sort, occasionally breaking out into a few agitated passages of dissonance. His technique in great shape, Shorter responds with long-limbed melodies, darting responses to Hancock’s lashings, and occasional painful outcries of emotion. The leadoff track, “Meridianne — A Wood Sylph,” clearly takes off from a base of Satie to set the reflective mood for nearly the whole CD; only the final, brief “Hale-Bopp, Hip-Hop” offers a hint of comic relief. All of the tunes, save for Michiel Borstlap’s “Memory of Enchantment,” are Hancock or Shorter originals; some, like Hancock’s “Joanna’s Theme” (from the film Death Wish) and Shorter’s “Diana,” date back to the ’70s. As avidly as this music was awaited and as wildly as it was acclaimed by critics, it doesn’t really touch the emotions as deeply as the best of the pair’s work together and apart. It stands as a graceful, high-minded anomaly in the output of both, but not something you would expect to pull off the shelf to hear too often.

Bah! I listen to this all the time, it’s a great album, but we’ll probably never hear one like this again.

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2 comments
  1. Bob from FB writes: “I saw them together right after this came out and it was rather magical; they have such an intuitive connection with each other.”

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