Woody Shaw - Night Music 'February 25, 1982

Tracks list

Tracks

1	Orange Crescent 
2	To Kill A Brick 
3	Apex 
4	All The Things You Are

Personnel

Bass – Stafford James
Drums – Tony Reedus
Piano – Mulgrew Miller
Trombone – Steve Turre
Trumpet – Woody Shaw
Vibraphone – Bobby Hutcherson

After decades of being out of print and not issued on CD, the Elektra Musician
series of recordings are slowly being trickled back into the marketplace, with
Woody Shaws Night Music being one of his strongest efforts in the latter days of
the fiery, iconic trumpeters brilliant career. A live recording at the Jazz
Forum in New York City, Shaws saxophone-less sextet sports an incredible front
line, with trombonist Steve Turre and vibist Bobby Hutcherson assuring sparks
will fly. Pianist Mulgrew Miller is the fuse that sets off the dynamism in this
ensemble with his modal block chords and witty, inventive piano runs or solos,
while Shaws longstanding rhythm team of bassist Stafford James and drummer Tony
Reedus feed the fire in the burning cauldron of this original post-bop jazz
band. Two definitive compositions that will live for all of jazz time are
included -- Turres Orange Crescent and Millers Apex, both representing the
absolute finest modern jazz vehicles of this early-80s time period. A one-note
bassline on the former piece, with Hutcherson and Millers resonant, repeat,
modal three chords, set the trumpet and trombone blazing through this marvelous,
choppy, and complex, extended line, while Apex is a dazzling display of the
pianists formidable gifts as he sets up a beautiful, memorable melody for Shaw
and Turre to wax poetically with total energy and playfulness -- exciting music
to be sure. Of course these masters cant help but turn out the best in hard bop,
as on Shaws To Kill a Brick, perhaps a basketball reference, as the group steams
ahead with no messing around or after-effects on a brief melody before jamming
away, with Reedus as the quintessential pace maker. The lone standard, All the
Things You Are, sounds like a cakewalk in contrast, but instead is a patient and
carefully interpreted take of the single most played standard in jazz history, a
languid version over 13 minutes that does cool the ensembles jets in cut time,
but allows an unhurried, relaxed tempo to allow solos that linger on the palate
of ones aural sensitivities. This reissue is quite welcome for Shaw devotees, a
solid live effort that can proudly stand next to his other concert and club date
releases from the Muse label, and the Columbia label issue Stepping Stones. In
his prime, Woody Shaw was perhaps the most formidable modern jazz trumpeter of
his generation, and this recoding offers proof positive.
Michael G. Nastos

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