1. Parabola
2. Joseph
3. Straits of Blagellan
4. Rapids
5. Outeroids
6. Orgasm

Musicians:
Alan Shorter - Flügelhorn (all tracks except track 4), Trumpet (track 4), Tambourine (track 4)
Gato Barbieri - Tenor Sax
Charlie Haden - Bass (tracks 1, 6)
Reggie Johnson - Bass (tracks 2, 3, 4, 5)
Rashied Ali - Drums (tracks 1, 6)
Muhammad Ali - Drums (tracks 2, 3, 4, 5)

One of only two sessions led by flügelhornist Alan Shorter (Wayne's older brother), this set (which was reissued as a 1998 CD) is a near-classic. Shorter and his quartet (with tenor saxophonist Gato Barbieri, either Charlie Haden or Reggie Johnson on bass, and Muhammad Ali or Rashied Ali on drums) perform six of the leader's complex originals. Barbieri lets out some strong screams in places but sounds more restrained and coherent than on his other avant-garde recordings of the period. The rhythm sections are stimulating and alert, while Shorter, although not a virtuoso, comes up with consistently inventive ideas. The style is sometimes slightly reminiscent of Ornette Coleman (partly due to the presence of Haden), but Shorter had apparently not heard Ornette's band before recording this music. Well worth several listens. ---Scott Yanow, Rovi

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1 Disposition 27:02
2 Beast Of Bash 2:55
3 One Million Squared 10:49

Musicians:
Al Shorter – trumpet
Gary Windo – tenor sax
Johnny Mbizo Dyani – bass, piano, flute, bells
Rene Augustus – drums, bells

Recorded March 11, 1970 in Paris
at the studio Decca (rue Beaujon).

Unfortunately, Alan Shorter didn't get the chance to lead very many sessions. The limited commercial potential of his music -- coupled with a rather unhealthy lifestyle -- limited him to only a couple of titles under his own name and a dozen or so as a sideman. Like perhaps Eric Dolphy or Albert Ayler, though, the dates upon which he only played a supporting role still heavily bear his stylistic stamp. On this, the last of his leader dates, Shorter's compositions employ relatively vague stutter-step heads and then quickly dive right into free improvisation without looking back. What follows is free jazz along the lines of many BYG or ESP releases from the same era. On the album's opener, "Disposition (In Two Parts)," tenor saxophonist Gary Windo in particular lets loose what has to be one of the most "out" solos in recorded music history, hitting tones in the upper register seldom heard on the tenor (or any sax for that matter). Under the pressure of such an extreme embouchure, one gets the feeling that his reed could simply give up and snap across the room at any moment, and that kind of unbridled intensity just might be what makes this record as enjoyable as it is for those with an open ear for the avant-garde. Countering these wilder passages are a number of more personal sections as well, which help break up the lunacy heard especially on side one. Bassist Johnny Dyani, for example, spends much of the second side in conversation with drummer Rene Augustus, and even takes a lengthy piano solo during "Disposition." Both horns sit out for much of this side, providing only sporadic ensemble backing and, consequently, a bit more room for the listener to breathe. While it's not exactly "in like a lion and out like a lamb," the pacing of this record perhaps resembles that of Dave Burrell's Echo, in that once you've endured the storm on side one, the flip is a breeze. ---Rovi

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