Hello from Toronto; Jesse Markowitz here. I have gathered you all to celebrate the majesty of Wayne Shorter, and the life force with which he conducts himself. This life force manifests in a variety of ways; the extreme generosity in using his power to open doors for people; the courage he inspires, especially in outsiders, to celebrate eccentricity and individualism; the grace of this titan who sees everyone as his peer while never positioning himself as above or better; and of course the music.

The first time I hung out with Wayne Shorter one-on-one we were watching basketball in his hotel room and he pointed out certain players and which celebrities they were dating, “See this one’s going with Khloe Kardashian and you can tell by the way he plays,” etc. Later that day (April 20, 2016) I got to the Dr. Phillips Center For The Arts in Orlando, Florida and when presenting myself as Wayne’s new social media rep I saw the venue staff pull out the guestlist consisting of my name only. In a backstage dressing room I sat with Wayne Shorter, Carolina Shorter & Herbie Hancock and together the four of us chanted “Nam myoho range kyo” for about twenty minutes. Five minutes later Mrs. Shorter & I sat in the 2nd row while Wayne & Herbie played a life altering set of mostly improvised synth music. I sat there in awe as these two best friends of 50 years locked arms and leapt into the future, playing sounds which covered a wide spectrum of not only genre, timbre, mood and feeling, but also something I can only describe as the next thing that comes after music and likely won’t have a name for many years. At every break in the music about 10 people got up to leave, which did not phase the performers. After the show I walked with Carolina as she went above and beyond to meet up with some students of a friend of John Patitucci, and bring them to meet Herbie & Wayne. The lessons learned from these individuals on this day will fuel my humanity and creativity for the rest of my days.

This album came about amidst a pandemic and my heartbreaking (temporary) goodbye to New York City, my home of six years. It has kept me sane through such devastation and uncertainty. I humbly offer this album to the world in the hope that it provides a glimmer of ascension above these dire circumstances. I love and miss you all and pray we can be together again. Nam myoho renge kyo.

The music...

“Meridianne - A Wood Sylph”
Sasha Berliner - Vibraphone & Electronics
[from Herbie Hancock & Wayne Shorter “1+1”; 1997]
Recorded in Los Angeles

One of the first artists I asked to be on this project is Sasha Berliner, vibraphone and electronics wizard, champion of social justice, and style icon. I gave her few instructions with this song and she took Wayne’s ode to Erik Satie and bathed it in 21st century sound. I booked a solo concert for Sasha last fall at a little club on the Lower East Side and stood in awe as she displayed a fearless search for new sounds which to date has been the only time I have been reminded of that night in Orlando with Herbie, Wayne & Carolina.

“Pandora Awakened”
Sean Mason - Piano
[from “High Life”; 1995]
Recorded in Harlem

Sean Mason is a musician I immediately became enamored with upon first hearing him in early 2019. His Trio with Butler Knowles & Malcolm Charles has lifted the late night Smalls crowd to incredible heights, so much so that it is the only time I have heard a band bring that room at that hour to silence. For a long time, this rhythm section would drive 8 hours each way and crash on Sean’s floor to play this one gig late night at Smalls; unparalleled dedication. I chose this song to highlight Sean’s unique blend of soulful gospel and Keith Jarrett-like adventure.

“The Summit”
Nicole Glover - Tenor Saxophone
Daniel Duke - Bass
Nic Cacioppo - Drums
[from Art Blakey & The Jazz Messengers’ “Meet You At The Jazz Corner Of The World”; 1960]
Recorded in Jersey City

In 2019 when Paul Stache at Smoke asked me who I’d recommend for a new residency at the club, I immediately suggested Nicole and her vibrant trio. The first song played on the first night was “The Summit”. In the last few months before the fall I spent many nights sitting in the front row sipping bourbon while enraptured by this group [hear my cries of delight in the many videos I captured on the club’s Facebook page]. I love the New Jersey edge they bring to a project celebrating one of the region’s greatest exports. Speaking of which, my firm belief that Nicole is (spiritually) the next Bruce Springsteen is something I’ll go into at another juncture.

“Sydney”
Eric Reed - Piano
[from Wynton Kelly’s “Kelly Great”; 1959]
Recorded in Los Angeles

Wow. I am so grateful to Eric Reed for his belief in me dating back to 2013 when, before I lived in New York, he took me around and introduced me as “someone you should know” to the heavy hitters in the scene. I’ve always been struck by his supreme solo piano work and noted the incredible transitions he makes from cracking up a packed house at Smoke with his engaging banter, segued straight into a solo piano intro bringing the entire room to silent rapture, audience & staff. Eric’s solo gospel album “Reflections Of A Grateful Heart” (WJ3 Records; 2013) is an all time classic. Eric selected this obscure tune from Wayne’s early years written in dedication to Freddie Hubbard’s cousin who used to drop into gigs at Birdland.

“Infant Eyes”
Melissa Aldana - Tenor Saxophone
Shai Maestro - Piano, Keyboards, Logic Programming
[from “Speak No Evil”; 1964]
Recorded in Brooklyn

Melissa Aldana is one of the most inspiring and powerful people I’ve ever met and I’m honored to call her my friend, let alone social media client, let alone collaborator on this project. In both life and music, everything she says cuts straight to the heart of the matter. I have many favorite moments on this record, and the line at bar 3 of the B section of the form in Melissa’s solo floors me like no other. While I intended for this duo to go into a traditional studio and cut this song in an hour, Shai Maestro counter-offered with an incredibly creative Logic production which makes the listening experience similar to watching a movie. Piano, organ, Rhodes, gun shots, ol’ timey record scratches, strings, a harmonizer effect on Melissa’s saxophone; to me these various sounds represent the characters which drift in and out of our lives.

“This Is For Albert”
Emmet Cohen - Piano
Russell Hall - Bass
Kyle Poole - Drums
(arranged by Joe Saylor)
[from Art Blakey & The Jazz Messengers’ “Caravan”; 1962]
Recorded in Harlem

When I first arrived in New York City in 2014 I was astounded to see the level of dedication to this artform in musicians I would have thought far too young to keep the fire burning. I had previously been under the false impression that young people identifying as jazz musicians were only interested in math jazz, which is to say playing in odd meters without much emphasis on the blues and swing elements which attached me to the music. Those early nights at Smalls, Dizzy’s and Smoke are fundamental to my making a home in New York. This elegant take on “This Is For Albert” is the sound of friendship.

“Footprints”
David Liebman - Soprano Saxophone
Willy Rodriguez - Drums
[from Miles Davis’ “Miles Smiles”; 1966]
Recorded in Manhattan

The Liebmans have always been fam as long as I’ve known them, and it is with great pride that I collaborate not only with legend Dave, but son-in-law / drummer Willy Rodriguez and daughter / hotshot publicist Lydia Liebman. This duo rendition of Wayne’s most famous song really cooks!

“Oriental Folk Song”
Chien Chien Lu - Vibraphone & Electronics
[from “Night Dreamer”; 1964]
Recorded in Harlem

The great Chien Chien Lu is a musician relatively new to me. Catching her recently with the Jeremy Pelt Quintet and Gerry Gibbs Thrasher Orchestra, I immediately took note of the depth of her imagination, formidable technique, and incredibly authentic sense of the blues. The incidental noises of thunder and a car horn honking so brilliantly capture life in New York City.

“Contemplation”
Benny Green - Fender Rhodes Electric Piano
[from Art Blakey & The Jazz Messengers’ “Buhaina’s Delight”; 1961]
Recorded in Berkeley

I first met Benny Green at his solo recital at the Toronto club Top O’ The Senator in 2001. In between sets my friend Isaac Ezer and I, both of us 16, sheepishly asked Benny if he took requests. Benny said he does not, but was curious as to what we wanted to hear, which was “Round Midnight” (Isaac) & “Out Of Nowhere” (me); Benny opened the set with a medley of the two numbers. Benny is a warrior for this music and it’s been an honor working as his social media rep 5 years and running. His solo Rhodes rendition of “Contemplation” is as contemplative as it gets; with so much space to complement Wayne’s gorgeous melody.

"Miles’ Doorbell"
Voicemail from Wayne Shorter & Carolina Shorter
Recorded in Los Angeles

While living in New York, I made it a regular occurrence to stop by 312 W 77th St aka Miles Davis Way, and spend a moment on Miles’ legendary front stoop. One summer day I texted Wayne & Carolina a photo from the stoop, and they responded with this delightful voicemail. I’d like to take this opportunity to especially thank Carolina Shorter for being every bit as much the hero as Wayne. For every time you see Wayne, you can count on Carolina being behind the scenes, negotiating the competing agendas of infinite people trying to get to Wayne, all with a smile on her face.

“Paraphernalia”
Pablo Held - Piano
[from Miles Davis’ “Miles In The Sky”; 1968]
Recorded in Köln

Pablo Held has clearly demonstrated himself to be #Waynefam for life. Correct me if I’m wrong, but I don’t think there is a single musician on the planet who has more of Wayne’s book under their fingers than Pablo Held. I’d highly recommended the Facebook Live solo concerts of Wayne’s tunes which Pablo has done during the pandemic. His rendition of “Paraphernalia” is extraordinary.

“Fall”
Dan Tepfer - Prepared Piano
[from Miles Davis’ “Nefertiti”; 1967]
Recorded in Brooklyn

Dan Tepfer is a force of creativity and mathematical wizardry, with his incredible Disklavier algorithms designed to improvise along with the pianist, his game-changing livestreams presenting musicians playing together in real time from multiple locations, and his work firmly in the tradition in the bands of Lee Konitz and Charles McPherson, among others. I don’t know how he came up with the sounds on this ‘prepared piano’ rendition of Wayne’s seasonal gem, and after hearing so much music over the years, that is a welcome feeling.

“Iris”
Luther Allison - Piano
[from Miles Davis’ “ESP”; 1965]
Recorded in Charlotte

24 year old Luther Allison I only recently became familiar with upon his arrival in New York in the fall of 2019, after graduating from Donald Brown’s University Of Tennessee Knoxville program. Luther brings the utmost elegance and sophistication to a down home gospel upbringing. His treatment of this ballad from my favorite Miles Davis album pulls at my heartstrings.

“ESP”
Kevin Hays - Piano, Keyboards & Voice
[from Miles Davis’ “ESP”; 1965]
Recorded in Woodstock

I’ve had the pleasure of working for Kevin Hays for almost a year now. When the pandemic hit we started collaborating on weekly livestream concerts which have been a great source of positive energy through these troubling times. With each passing week, I’ve seen his sense of adventure grow, both in terms of his endless repertoire as well as the seamless way he integrates technology into traditionally acoustic music. I’ve also enjoyed that he begins each set with a Wayne Shorter composition. This recording comes straight from one of those livestreams. Tune in every Friday at 3 pm on Kevin’s Facebook page.

“Face On The Barroom Floor”
Gabe Schnider - Guitar
[from Weather Report’s “Sportin’ Life”; 1985]
Recorded in Kingston, NY

Gabe Schnider; what an incredibly unique talent; bringing Hawaiian roots to a strong dedication to jazz’ fundamentals and an exploration to the limitless potential of the guitar. Gabe’s gigantic heart is best displayed on his debut album “Hapa: Love Stories”, an ode to his parents. For this project Gabe has interpreted Wayne’s haunting composition “Face On The Barroom Floor” balancing a faithful rendering of the melody and chords with the constant sway of subtle interjection from the stratosphere.

“Midnight In Carlotta's Hair”
Nite Bjuti:
Candice Hoyes - Voice
Mimi Jones - Bass
Val Jeanty - Sound Chemistry
[from “High Life”; 1995]
Recorded in Harlem & Brooklyn
Lyrics by Candice Hoyes

I am overjoyed that Candice Hoyes, Mimi Jones & Val Jeanty were able to take Wayne’s dense template for "Midnight In Carlotta's Hair" and turn it on its head; a dream I didn’t know I had. Please enjoy this live remix of one of Wayne's most haunting melodies performed by the incredibly unique group Nite Bjuti [pronounced ‘night beauty’].

“Midnight In Carlotta’s Hair”
Mark Whitfield - Guitar
[from “High Life”; 1995]
Recorded in Jersey City

More than almost any other Wayne Shorter composition I have a deep and endless infatuation with “Midnight In Carlotta’s Hair”. With Nite Bjuti taking the song so far out there conceptually, Mark Whitfield brings us back with this majestic solo guitar rendition. I hope that having these two recordings side by side presents the concept of limitless potential as to the malleable nature of Wayne’s writing.

“Three Clowns”
Jason Marsalis - Vibraphone
[from Weather Report’s “Black Market”; 1976]
Recorded in New Orleans

Jason Marsalis is an intensely brilliant mind and talent I grew to know thanks to his regular visits to Toronto during my formative jazz years. He chose a song I would have overlooked and gave it a minimalist arrangement which brought out its essence. I’d highly recommend checking out the new direction Jason has taken with his vibraphone for meditation videos available on Youtube.

“Sleeping Dancer Sleep On”
Mariel Bildsten - Trombone
[from Art Blakey & The Jazz Messengers’ “Like Someone In Love”; 1960] Recorded in Harlem

Mariel Bildsten is a bonafide rock star, touring the globe with the wildly successful heavy metal brass band Brass Against, while concurrently leading her own Septet playing obscure Ellington repertoire. Mariel so beautifully arranged this brass chorale to one of Wayne’s prettiest ballads, stretching it out to no less than eight trombones; a feast for the ears.

“Someplace Called ‘Where’”
Veronica Swift - Voice
Dan Chmielinski - Synthesizers
Jesse Markowitz - Footsteps
[from “Joy Ryder”; 1988]
Recorded in Charlottesville, Washington Heights [NYC] & Forest Hill [Toronto]
Lyrics by Dianne Reeves & Richard Cummings.

Two of the biggest breakout stars of my world in recent years have been the all time iconic jazz vocalist Veronica Swift and synthesizer extravaganza group Circuit Kisser lead by Dan Chmielinski. Go check out their debut albums “Confessions” (Veronica Swift; on Mack Avenue Records) and “Faking The Moon Landing” (Circuit Kisser). For this song, I conceived of the last person on earth wandering through a lonely planet and being met by a spaceship.

“Miyako”
Michael Eckert - Pedal Steel Guitar
[from “Schizophrenia”; 1967]
Recorded in Toronto

Michael Eckert is one of the finest musicians in all of Canada, an auxiliary guitar player who, under normal circumstances, gigs every night in the jazz, country, folk and blues idioms. In the years before I moved to New York, I went to hear his group The Treasures about 100 times, and will always be grateful to that scene for welcoming me as I got my life together. Returning to Toronto after so many years away, Mike’s outdoor space has been the setting for many (distant) hangs that provided much needed comfort to help ease the transition. While so disconnected from my community, it is very nice to have a track on this album recorded within walking distance of my home, and paid for in cash; the very bills I took out at the ATM in Washington Heights just in case I needed to bribe someone at the border. This dream-like rendition of one of Wayne’s most well loved ballads expands the palette of this music. Latching on to the narrative I created in “Someplace Called Where”, I’d like to think of this track as the ship floating through space.

“Orbits”
Julius Rodriguez - Keyboards, Bass, Drum Programming, Handclaps, Voice, Production
Morgan Guerin - Soprano Saxophone, Handclaps, Voice, Production
[from Miles Davis’ “Miles Smiles”; 1966]
Recorded in Harlem

“Orange Julius” was the very first musician in Palladium, with the first gig (Smalls Jazz Club; September 3, 2018) being arranged around his busy schedule, and leading into his 20th birthday no less. While he blows up the music world, I’m lucky he was able to contribute a track to this album. With no guidelines being set by me, I’m very happy he linked up with fellow wunderkind Morgan Guerin and together they gave me this outerspace disco rendition of Wayne’s anthem. Concluding the narrative of the last two songs, this is the spaceship returning to its home planet and a wicked dance party ensues. Let this be a sign of hope that we will be together again.

Some more credits:

Thanks to Chris Butcher, mixer and co-producer in New Orleans. This album would not have happened without you.

Thanks to Rob Griffin, who did pre-mastering in Panama, and made everything come to life in ways I never could have imagined. Thanks for looking after Wayne all these years, and for your intense dedication to this project.

Thanks to Harold LaRue who mastered the album in Houston, amidst not one but two hurricanes.

Thanks to Mike Winkelmann aka Beeple for the cover art which so poignantly symbolizes the nature of communication in this fucked up year. Securing the rights to this drawing (originally titled “Open Air”, part of the Beeple daily drawing series on Instagram) kicked off the 5 month process of making this album.

Special thanks to:
Wayne Shorter, Carolina Shorter, Linzee Cosman, Melodie Hebscher, Tom Markowitz, Scout, Jen Markowitz, Angie Johnson, Debbie, Branford Marsalis, Jesse Simpson, Zoh Hamrick, Herbie Hancock, Buster Williams, Daisaku Ikeda, Rob Griffin, Michelle Mercer, Danilo Perez, Meghan Stabile, Roy Hargrove, Larry Clothier, Dave Holland, Louise Holland & Melissa Aldana.

This album is dedicated to the memory of one Salbu Price; somebody got to do it. I love you my brother.

Nam myoho renge kyo