The Latin Side of Wayne Shorter
Conrad Herwig
Half Note Records
Whenever a musician creates a tribute to an influential artist, their creative approach will either result in a living interpretation of the artist’s work or the development of a stuffy museum piece. Most artists want to approach their musical idols with a sense of reverence, showing their respect for the elder musician’s contribution. A true reverence must reflect the mentor musician’s original creative energy behind the music. Most influential jazz artists build their reputations by trying new things, so the younger musician needs to take risks and avoid direct reproduction. They need to conduct a full investigation of the artist’s work, becoming intimately familiar with the full scope of their repertoire. Most importantly, the musician needs to contemplate the work and develop their own interpretation that both respects the earlier work and provides a personal perspective on the elder artist’s influence. Trombonist Conrad Herwig continues his popular investigation of modern jazz artists with The Latin Side of Wayne Shorter, a tribute brings new life to a wide swatch of Shorter’s work through creative arrangements, passionate performances, and the help of master pianist Eddie Palmieri.

Looking At Shorter’s Early Compositions
Two arrangements draw upon Shorter’s early years as a member of Art Blakey’s Jazz Messengers. The rhythm section drives a furious son montuno behind sharp rhythmic punches on “Ping Pong” until a flying melody takes center stage. Trumpet player Brian Lynch runs long bop-fueled lines through the changes followed by Herwig’s virtuosic solo. Pianist Luis Perdomo starts with short ideas, building momentum into an engaging statement and then drummer Robby Ameen mixes chops, musicality, and coloristic ideas into an impressive improvisation. An understated improvisation from Perdomo opens “This Is For Albert,” leading into a strong melody, supported with a closely arranged rhythm section part. Baritone Saxophonist Ronnie Cuber’s solo mixes a penchant for strong melodies with a hard bop sensibility until Lynch follows with a thoughtfully constructed statement that relies upon solid thematic development. A short interlude introduces Herwig’s melodically intriguing improvisation, followed by Perdomo’s solo that gradually grows into an explosive combination of syncopation. These pieces reflect an acknowledgement of Shorter’s full career, recognizing the equally powerfully contribution of his earlier compositions.

Diving Into Shorter’s Classic Repertoire
Herwig pulls several pieces from Shorter’s classic 1960s repertoire that he developed as a leader. “Tom Thumb” benefits from a funky swagger and a memorable melody over a cha cha cha rhythm. Herwig finds an undeniable groove, weaving rhythmically addictive melodies into the rhythm section’s texture until Cuber spins long bop flavored lines into a full statement. After a powerful improvisation from Lynch, bassist Ruben Rodriguez reveals a dual influence from both Bobby Rodriguez and Ron Carter with a collection of rich melodies that integrates clearly defined rhythmic syncopations. A series of repeated melodies over a mid-tempo son montuno form the structure for “El Guacho,” quickly giving way to solos. Herwig takes his time building short ideas into long flurries of notes until Cuber utilizes space and rhythm section interaction to propel his statement forward. Lynch shapes intriguing melodies into ferocious flights of notes, followed by Rodriguez’s creative improvisation, which displays an impressive gift for melodic construction. Rodriguez establishes a firm foundation in 6/8, leading into the elaborately constructed melody on “Night Dreamer.” Lynch fills his statement with references to the melody intertwined with fast runs until Herwig builds from long, dreamy lines into aggressive showers of notes. After a well-constructed solo by Perdomo, the rhythm section provides an assertive vamp for an explosive solo by conguero Pedro Martinez. These pieces from Shorter’s classic Blue Note era provide familiar material for fans of the saxophonist, but they also open important structures for the musicians to explore.

Inspiring Performances From Palmieri
Three of the tracks feature a guest appearance from Herwig’s longtime musical associate, pianist Eddie Palmieri. Palmieri delivers a funky montuno, leading into the blues-tinged melody on “Adam’s Apple.” Cuber recalls Shorter’s original improvisation with thoughtfully developed themes, followed by Herwig’s energetic solo that draws upon the song’s rhythmic nature. Palmieri strikes a unique balance with his improvisation, displaying both his trademark use of dissonance and rhythmic tension as well as a careful study of the song. The rhythm section establishes an open and mysterious groove on “Masqualero” which connects with the dramatically ominous melody. Both Herwig and Lynch recognize the composition’s original recording with distinctive improvisations that combine sound effects, a harmonic freedom, and bombastic development. Palmieri creates a striking contrast, starting with a tipico sound which dissolves into the dissonance commonly associated with the song. Rodriguez and Cuber fit the familiar bass line on “Footprints” into a lively son montuno, which lays the foundation for an energetic reading of the melody. Cuber attacks his improvisation with a passion before Lynch develops a fiery statement that blends rhythmic intensity with angular melodies. After an impressive display of imagination and virtuosity by Herwig, Palmieri fuels an already powerful momentum with tense rhythmic displacement. The performance climaxes with an enthusiastic combination of traditional ideas and thrilling power from Martinez. Palmieri’s presence inspires the group, raising an already strong performance into an unforgettable display of musicianship worthy of Shorter’s legacy.

A Smart Interpretation of Shorter’s Work
Herwig succeeds in creating a powerful tribute on The Latin Side of Wayne Shorter that invigorates the original spirit of Shorter’s work with a smartly constructed and enthusiastically executed interpretation. Herwig steps beyond the simple act of placing Latin rhythms beneath Shorter’s music; he creates intricate arrangements that capture the original aesthetics of Shorter’s compositions. He obviously knows Shorter’s work well, and his artistic perspective reflects years of listening and study. At the same time, Herwig stays deeply rooted in the history of Latin music; these tracks stand as strong Latin Jazz performances regardless of the tribute element. The album’s musicians share Herwig’s respect for Shorter, attacking the music with a passion that reveals a strong connection to Shorter’s work. From Lynch’s hard bop flair and attitude to Ameen’s Tony Williams inspired coloristic approach, these musicians maintain a lineage back to the original artistry. The musicians obviously enjoy this tribute; the performance explodes with an honest enthusiasm for the work. Palmieri’s presence contributes much more than the sentimental addition of a Latin music master; instead he energetically applies his years of experience to Shorter’s music, fueling the already fiery performance. Herwig revisits Shorter’s work on The Latin Side of Wayne Shorter, but the album looks ahead more than looking back, ensuring the longevity of Shorter’s work long into the future.

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