Personnel: Wayne Shorter (tenor saxophone); James Spaulding (alto saxophone); Freddie Hubbard (trumpet); McCoy Tyner (piano); Ron Carter (bass); Tony Williams (drums).

Producer: Alfred Lion.

Reissue producer: Michael Cuscuna.

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on March 4, 1965. Includes liner notes by Michael Cuscuna.

Personnel: Wayne Shorter (tenor saxophone); James Spaulding (soprano saxophone, alto saxophone); Freddie Hubbard (trumpet); McCoy Tyner (piano); Toni Williams, Tony Williams (drums).

Audio Remasterer: Rudy Van Gelder.

Liner Note Authors: Michael Cuscuna; Bob Blumenthal.

Recording information: Van Gelder Studios, Englewood Cliffs, NJ (03/04/1965).

Photographer: Francis Wolff.

Arranger: Wayne Shorter.

Part of an explosion of solo albums Wayne Shorter recorded just after he joined Miles Davis' band, The Soothsayer wasn't released until the late '70s. Listening to the album, it is hard to believe because it ranks with the best of his works from this incredibly fertile period. Shorter has been called Davis' "idea man," and the creativity and thoughtfulness that earned him that moniker are quite evident here. The album's five originals and one arrangement (of Sibelius' Valse Triste) show a multi-layered complexity that seems effortless even as it weaves together contributions from a very strong, stylistic sextet. Of particular interest is the interplay of the three horn players, including altoist James Spaulding and trumpeter Freddie Hubbard. As a performer, Shorter also shows a lot of strength, with fluid, at times subtly evocative, solos that bloom with energy without ever seeming frantic or harsh. The title track shows Shorter at his most forceful and is one of the most passionate moments on the album, but even here, beauty seems to come first, while his low-key standard "Lady Day" embodies grace and calmness in every moment. [The CD version of this album also contains an alternate take of "Angola" that features some crisp playing by McCoy Tyner, as well as an energetic solo by Shorter. On this CD the alternate take is sequenced immediately following the take of "Angola" included in the original LP.] ~ Stacia Proefrock

With THE SOOTHSAYER, Wayne Shorter fronts a large ensemble for the first time in his solo endeavors. Like his previous sessions, Shorter's assorted guests are drawn from the most notable groups of the time. McCoy Tyner from Coltrane's quartet, rhythm-mates Ron Carter and Tony Williams from Shorter's employer Miles Davis, and Freddie Hubbard who shared horn duties with the saxophonist in Art Blakey's Jazz Messengers are all present, producing a huge sound lead by Shorter's artistic vision. Also on board is alto saxophonist James Spaulding who is the perfect compliment to Shorter's eclectic tenor.

SOOTHSAYER is the fourth Blue Note session for Shorter and his mature style is clearly developed here. His unique sense of melody in the modal style of the '60s is evident from the opening "Lost," featuring expressive solo interludes that glide over a floating waltz. Williams shines, as usual, on up-tempo numbers like the whirling "Angola" and the quirky title track, masterfully shaping the grooves like a sculptor. A beautiful respite comes with the exquisite "Lady Day" for the great Billie Holiday, featuring stunning work by Tyner. Finally, the session closes on an interesting note with Shorter's arrangement of Sibelius' "Valse Triste."

Part of an explosion of solo albums Wayne Shorter recorded just after he joined Miles Davis' band, The Soothsayer wasn't released until the late '70s. Listening to the album, it is hard to believe because it ranks with the best of his works from this incredibly fertile period. Shorter has been called Davis' "idea man," and the creativity and thoughtfulness that earned him that moniker are quite evident here. The album's five originals and one arrangement (of Sibelius' Valse Triste) show a multi-layered complexity that seems effortless even as it weaves together contributions from a very strong, stylistic sextet. Of particular interest is the interplay of the three horn players, including altoist James Spaulding and trumpeter Freddie Hubbard. As a performer, Shorter also shows a lot of strength, with fluid, at times subtly evocative, solos that bloom with energy without ever seeming frantic or harsh. The title track shows Shorter at his most forceful and is one of the most passionate moments on the album, but even here, beauty seems to come first, while his low-key standard "Lady Day" embodies grace and calmness in every moment. [The CD version of this album also contains an alternate take of "Angola" that features some crisp playing by McCoy Tyner, as well as an energetic solo by Shorter. This particular reissue sequences this bonus track at the conclusion of the CD, following the original LP's six tracks.] ~ Stacia Proefrock

Part of an explosion of solo albums Wayne Shorter recorded just after he joined Miles Davis' band, The Soothsayer wasn't released until the late '70s. Listening to the album, it is hard to believe because it ranks with the best of his works from this incredibly fertile period. Shorter has been called Davis' "idea man," and the creativity and thoughtfulness that earned him that moniker are quite evident here. The album's five originals and one arrangement (of Sibelius' Valse Triste) show a multi-layered complexity that seems effortless even as it weaves together contributions from a very strong, stylistic sextet. Of particular interest is the interplay of the three horn players, including altoist James Spaulding and trumpeter Freddie Hubbard. As a performer, Shorter also shows a lot of strength, with fluid, at times subtly evocative, solos that bloom with energy without ever seeming frantic or harsh. The title track shows Shorter at his most forceful and is one of the most passionate moments on the album, but even here, beauty seems to come first, while his low-key standard "Lady Day" embodies grace and calmness in every moment. [The remastered Rudy Van Gelder edition of this album contains an alternate take of "Angola" featuring some crisp playing by McCoy Tyner, as well as an energetic solo by Shorter.] ~ Stacia Proefrock

Mojo (Publisher) (p.122) - 4 stars out of 5 -- "The group's potent synergy is most evident on 'Angola' and the pulsating title track."

Record Collector (magazine) (p.87) - 5 stars out of 5 -- "[A] tremendously exciting sextet session recorded in 1965....Shorter is surrounded by some incredible sidemen: McCoy Tyner, Freddie Hubbard, James Spalding, Ron Carter and Tony Williams."