Alegria (Wayne Shorter)


Wayne Shorter (arranger, soprano saxophone, tenor saxophone)


Robert Sadin (arranger)
Chris Potter (tenor saxophone, bass clarinet)
Lew Soloff, Chris Gekker (trumpet)
Bruce Eidem, Michael Boschen, Jim Pugh, Steve Davis (trombone)
Marcus Rojas (tuba)
John Clark, Stewart Rose (horns)
Paul Dunkel (flute)
Allen Blustine (clarinet, bass clarinet)
Stephen Taylor (oboe, English horn)
Frank Morelli (bassoon)
David Garrett, Barry Gold, Gloria Lum, Daniel Rothmuller, Brent Samuel, Cecilia Tsan, Charles Curtis (cello)
Danilo Perez, Brad Mehldau (piano)
John Patitucci (bass)
Brian Blade, Terri Lynne Carrington (drums)
Alex Acuna (percussion)


Alegria cover

Date Recorded: 

This classic jazz album includes my favourite arrangement (by Robert Sadin) of Bachianas Brasileiras #5.

1. Sacajawea
2. Serenata
3. Vendiendo Alegria
4. Bachianas Brasileiras No. 5
5. Angola
6. Interlude
7. She Moves Through The Fair
8. Orbits
9. 12th Century Carol
10. Capricorn II  

Bachianas Brasileiras
Chamber Music
  • Jazzitude review
  • Mark F. Turner's review at All About Jazz 
  • John L. Walter's review at The Guardian.   "Saxophonist Wayne Shorter still towers over jazz."
  • John Doll's review at  I have to quote a whole paragraph of this review: "Shorter rediscovers the brilliant classical Brazilian composer, Heitor Villa-Lobos, who re-thinks and re-imagines Bach. The result is simply a masterpiece. It is begins hauntingly with Acuna and Shorter but then sways along the dance floor to Charles Curtis on cello with a solo that is so sweet and sorrowful that it can bring tears to one’s eyes. Following the cello, Shorter begins a rich tenor improvisation in counterpoint to Curtis. The eventual interplay between Curtis and Shorter is breathtaking. This single track may be the most magnificent piece that I have heard in years. The roots are deep and old, but the branches are fresh and resoundingly modern. And it may provide listeners with a means to appreciate and intensively explore 20th century classical compositions by Bartok, Chavez, Shostakovich and Harrison." 
  • See my post at The Villa-Lobos Magazine.
  • A short review in The New Yorker: "...he confirms that he's a master of mood setting and a soloist who remains sui generis.
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