80代半ばを迎えた現在も、そのあふれ出る独自の創造性でジャズ・シーンに多大なインスピレーションを与え続けるリヴィング・レジェンドにして最高のカリスマ、ウェイン・ショーターが8月24日にニュー・アルバム『エマノン』をリリース。
ウェイン・ショーター・カルテットとオルフェウス・チェンバー・オーケストラによるオリジナル楽曲の演奏が収録された3枚組CDとウェイン・ショーターとモニカ・スライの原作、ランディ・デバークのイラストで構成されたグラフィック・ノベルがセットになったこれまで10ものグラミー賞を受賞している巨匠による特別な音楽的&視覚的体験ができる超大作。
ジャズの伝説、これまで10ものグラミー賞を受賞してきた巨匠、ウェイン・ショーターが、5年ぶりに新作『エマノン』をついに8月24日にリリースすることが発表された。ショーターは1964年にアルバム『ナイト・ドリーマー』をブルーノートからリリースし、1970年の録音作品『オデッセイ・オブ・イスカ』を最後に長くブルーノートを離れていたが、2013年にブルーノートに復帰し 『ウィズアウト・ア・ネット』を発表、5年ぶりとなる待望の今回の新作は、ウェイン・ショーター(ss, ts)、ダニーロ・ペレス(p)、ジョン・パティトゥッチ(b)、ブライアン・ブライド(ds)の ウェイン・ショーター・カルテットと34ピースで構成されるオルフェウス・チェンバー・オーケストラによるショーターのオリジナル楽曲で構成される3枚組。さらに、ウェイン・ショーターとモニカ・スライ原作、ランディ・ダバークがイラストを手掛けたグラフィック・ノベルクがセットになっており、音楽的にも視覚的にも楽しむことのできる豪華作品。
通常商品に180g重量盤LPが3枚付いたデラックス・エディション。こちらも完全限定盤。

発売・販売元 提供資料 （2018/07/25）

Rolling Stone - 4 stars out of 5 -- "The musical portion of EMANON is another milestone, combining bold orchestral statements with the mercurial spontaneity of Shorter's remarkable long-running quartet." Paste (magazine) - "A quartet version of 'Prometheus Unbound' on CD3 crackles with intensity while featuring some of Shorter's most impassioned playing of the set. An epic journey into the creative mind of the 85-year-old genius."

Rovi

For decades, composer and saxophonist Wayne Shorter has led one of the more impressive quartets in jazz. With pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade, the 85-year-old saxophonist has explored the connections between chamber music and jazz. This band rehearses on-stage, creating innovative architectures via in-the-moment dialogue and improvising with unbridled freedom that never gives way to excess. Emanon is their first recording in five years and conceptual in nature. It comprises a four-part suite in a studio date from 2013 with the Orpheus Chamber Ensemble, and two 2016 live discs of the quartet playing the Emanon material with other tunes. It's packaged in an oversize hardbound book that contains a 36-page graphic novel that Shorter co-wrote with Monica Sly and illustrator Randy DeBurke. It follows the exploits of its "rogue philosopher"/warrior/protagonist namesake ("no name" spelled backwards, from a Dizzy Gillespie tune). He fights bad guys in the multiverse, a concept that shares principles with the Buddhist notion of emptiness, allowing for an infinite number of simultaneously existing universes that Emanon travels effortlessly between. Disc one begins with piano and soprano sax probing the suggestion of melody, but really it's the pianist offering Shorter a chance for dialogic thought. Orchestral brass, strings, and the rhythm section enter minutes later and create melody from rhythm and vice-versa. The full orchestra's colorful voicings introduce "Prometheus Unbound" with a majestic grandeur balanced by the quartet's subtler interventions. "Lotus" commences as a full-on orchestral thematic statement answered by a recurrent three-note piano ostinato that's countered by free blowing from Perez and Shorter. They are barely held in check by the fluid pulse from Blade and Patitucci. The chamber group's bold yet lush restatement later in the piece frames the quartet's interrogatory investigation of blues. "The Three Marias," whose origins date back to 1985's Atlantis, is rendered completely anew with Bernstein-esque orchestral flourishes and a sweeping theme. Shorter plays soprano and tenor with equal vigor. The quartet emerges to take over with speculative and assertive conversation until the last third, where the orchestra returns with tempi, texture, and dynamic changes ushering in a sweeping conclusion. The two live discs begin with a radically revisioned 27-minute version of "The Three Marias," where the group's close listening and instinctive risk-taking chart the unknown amid post-bop, modal jazz, and free improv. The medley of "Lost" and "Orbits" is edgier, traversing out jazz one moment and swinging grooves the next as Perez provides a wide palette for his bandmates to color. The final disc opens and closes with kaleidoscopic quartet versions of "Lotus" and "Prometheus Unbound," with stops at the traditional "She Moves Through the Fair" (unrecognizable from their 2003 version) and a short, blistering "Adventures Aboard the Golden Mean" that goes from 0-60 instantly in a bluesy workout led by Shorter's soprano, followed by Perez's Latin montunos and vamps given a heavy bottom by the rhythm section. While Emanon's suite may take some getting used to, it is a profoundly imaginative work; the quartet concert offers a killer portrait a group whose M.O. is pushing at the margins until they give way to something altogether new. ~ Thom Jurek

Rovi