Odyssey of Iska - Wayne Shorter

Mar

24

Odyssey of Iska - Wayne Shorter

≡ Category: 1970s, Essential, Free Jazz, Post Bop, Reviews |
≅ Written by: Michael Kydonieus

JAZZBO NOTES ESSENTIAL RECORDING

Rating:

A sort of companion piece to Shorter’s Super Nova, which was recorded the year before, Odyssey of Iska was the last date recorded by Shorter as a leader before starting Weather Report with Joe Zawinul and Miroslav Vitous.

Even more than Super Nova, Odyssey of Iska is predominantly a free jazz date, but don’t let that scare you away. There is very little of the out of range squealing, knocking, scraping, clatter and general lack of discipline that often characterizes free jazz and avant guarde recordings.

The sizeable ensemble behind Shorter (Dave Friedman, vibes and marimba; Gene Bertoncini, guitar; Ron Carter, bass; Cecil McBee bass; Billy Hart, drums; Al Mouzon, drums; Frank Cuomo, percussion and drums) assume as much of a coloristic as harmonic function in the music. They provide a cushion and a source of inspiration for Shorter’s flights of fancy on tenor and soprano.

Shorter’s tone is voluptuous and round, the most purely beautiful tone he has achieved on any of his recordings as a leader, and his accompanists have clearly been instructed to strive for a pleasing timbre on their instruments, so the overall effect is dreamy, not at all the atmosphere one usually associates with free jazz recordings.

It helps that the music is essentially programmatic. Iska is a poetic Nigerian expression that roughly translates to a breeze that comes and goes without leaving any trace. It symbolizes the transition of a man’s soul as he passes through life.

On Wind, a gentle undulating piece pregnant with menace, the first section is almost entirely free. The only direction Wayne probably gave his players was the mode that he was going to be soloing in. There is a brief composed B section before a free C section, which used the materials of the B section for improvisation. Wayne goes first, followed by a duet by marimba and bass. The tune ends with a brief section in swing time before drifting to a close.

On Storm, Shorter briefly states the theme backed by a loosely insistent rhythm before heading into total freedom. Bertoncini (guitar) alternates between strumming and commenting with machine gun single line notes behind Wayne while the drummers and percussionists bring the rhythm to a boil. Shorter revisits the theme now and then to keep the piece grounded, with his improvisations either playing off the theme or spontaneously inspired by the rhythmic patterns that emerge from his band.

After yet another impressionistic piece, Calm, the band launches into De Pois Do Amor, O Vazio (After Love, Emptiness), written by the drummer for the David Frost show at the time, a loose samba which is the most conventional tune on the album, but quite lovely. For once, Bertoncini and Shorter take turns soloing on the form. Then there is a section where the time becomes freer as the group vamps over one chord, Wayne keening over the percussion free for all. Finally, the group returns to the form of the tune, ending with a brief percussion coda.

The date closes with the mysteriously named Joy, built on a purposeful five note melodic fragment played by bassist Cecil McBee. Other than that, the track is completely free. Joy features the most aggressive playing by Wayne on the date. Shorter’s sax carries on a heated conversation with the bass, with McBee’s bass ultimately having the last word.