There are not many people who have any idea what it’s like to be this cool. Even Wayne Shorter does not know, because he is too cool to stop and consider how cool he is. That’s what people like me are here for. And along with his partner-in-crime Herbie Hancock, Wayne Shorter has been one of the coolest dudes on the planet for more than five decades.
When I wrote about about the (second) Miles Davis Quintet—i.e., the best working band to ever make music—I had this to say about Wayne Shorter:
Wayne Shorter is, for my money, possibly the most underrated genius in any genre of music. To be sure, he gets plenty of props within jazz circles and the people who know really know. And in his wise, humble way, he is probably cool with that. But his name does not come up quickly or often enough in discussions of the true masters. Aside from his considerable proficiency on the horn(s), he is also among the most distinctive and consistently satisfying composers. And while Davis, who was without peer in assembling talent, had the vision and deservedly gets the lion’s share of the credit (he was the lion, after all), a good chunk of the material on those second quintet sessions was written by Shorter. And here’s where it gets unbelievable: all through the mid-to-late ’60s—at the same time they were in The Quintet—he (as well as Hancock) was dropping epic masterpieces on the Blue Note label (think Maiden Voyage, Speak Like a Child, JuJu, and Speak No Evil for starters).