Customer Reviews
Haunting, elliptical and mysterious - By: Mr. S. J. Jouanny, 01 Oct 2005 
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Shorter, who has always incorporated a stronger element of the blues to his playing than Coltrane didin the mid-sixties, mixes this with some masterful composition & improvisation. Couple this with some astounding support from the polyrhythmic Elvin Jones, a (sometimes over) brassy & exuberant Freddie Hubbard, with the mercurial Herbie Hancock & journeyman Ron Carter.
The compositions themselves are wondrous, opening with "Witch Hunt", an interesting piece with a separate intro that moves straight into the main theme. It is a haunting blues with great solos from Shorter & Hubbard, driven along by Jones' fiery beat. "Fee-Fi-Fo-Fum" is a track that is utterly ruined by Hubbard, who seems to be content on blowing everyone off the song with no regard for the wonderful introduction. Hancock mimicks the rhythmic chanting of Fee Fi Fo Fum with dissonant chords at the beginning, before moving into a fantastic opening theme over an unusual blues progression. Shorter & Hancock redeem the song with more searching solos. "Dance Cadaverous" is an interesting take on "Valse Triste" by Sibelius, & it is an effective example of a classical progression being adapted for jazz. The title's association with the grislier side of life is well preserved by eerie solos by the two horns. The title track stands out due to challenging solos by all which seem to disregard tonality, indeed, Shorter would continue to develop tonal ambiguities through his compositions with the Miles Davis quintet. This creates an unsettling effect, but it is also combined with Shorter's angular lyricism. A shift of tempo occurs after this, with the ballad "Infant Eyes", which features elegant playing from Shorter, demonstrating that he is capable of playing soulful ballads,in addition to eschewing the cliches usually associated with them. The album finishes with "Wild Flower", a more upbeat track which is playedin 6/4 time, a nice variation on the usual 4/4 swing beatin jazz. This track is notable for Jones' propulsive drumming, & Hubbard seems to excel on this track, playingin a more laconic, melodic style a la Miles Davis. This album was an essential moment for Shorter, who had reached his creative peak here which ensured he would record further classics such as Adam's Apple, The All-Seeing Eye, & Schizophrenia. Between this & JuJu, it is a matter of preference.
A peak in jazz ensemble playing. - By: R Jess, 17 Dec 2004 'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. 1964 was also the year John Coltrane produced 'A Love Supreme' & Eric Dolphy 'Out To Lunch'. Wayne Shorter managed to assemble some of the best players of that age to produce another jazz masterpiece. Ron Carter from Miles Davis's group, as well as Herbie Hancock on an upward slope to greatness. Elvin Jones fresh from his playing on 'A Love Supreme' & Freddie Hubbard who we heard on 'Out To Lunch' earlierin the year.
Shorter had been playing with Coltranein the late 50's but his style ended up more melodic as can be heard on the opener 'Witch Hunt', which sounds like the basis of his work with Weather Reportin the 70's. Hubbard plays an ode to the past as Hancock arrives with a mellow swing. By the end of the track Shorter & Hubbard are beginning to sound like a full orchestra. 'Fe-Fi-Fo-Fum' has all the smokey charm of a bluesy barroom band much like Hancock's piano on 'Dance Cadaverous'. A track with a smouldering melody, Hubbard & Shorter playin unison, each with an ear for it's seemingly spontaneous development as it builds to a mid-track crescendo. On the title track itself, Hancock's playing is infectious & infused with feeling. Jones lets loose on Shorter's first solo before Hubbard takes over with his energetic & melodic playing. More beautiful & airy sax on 'Infant Eyes' before we get Shorter's introverted solo on 'Wild Flower' followed by Hubbard's loud & engaging one. Hancock is again amazing against Jones's drumming.
Shorter was extraordinarily lucky to have these players at the peak of their powers.
Wayne Shorter- jazz's finest tenor saxophonist - By: , 30 Nov 2004 On Speak no Evil Wayne Shorter manages to reach a level of brilliance that he never even achieved with the great Miles Davis Quintet of the late '60s. Compositionally it is a fantastic album with the open track witch hunt & the title track being particular gems.
There is beauty & joy to this album that comes from Shorter himself. He has a far less serious & intense style than John Coltrane, whom comparisons are inevitably drawn with, which makes his work far less effort to listen to. The other collaborators are more than competantin their perfomances as well with the expert touch of Herbie Hancock on the piano & the bewitching tones of Freddie Hubbard on trumpet blending well.
For me this is one of the classic jazz albums, & it proves the lack of justicein the world when John Coltrane is remembered more fondly by the public than the master behind this work.
Memorable and mysterious music.... - By: BassGuitarHeaven, 17 Aug 2002 One of Wayne Shorter's finest records. The track "Speak No Evil" is memorable & marvellous, whilst "Witch Hunt" & "Dance Cadaverous" are magical & mysterious. Worth listening to again & again.
One of Shorters many highights - By: , 06 Feb 2000 A stunning piece of work featuring the virtuoso playing of a young Freddy Hubbard amongst others. This recording finds Shorter at his imperious best. The title track "Speak no Evil" is a must for all Jazz Fans
