Wayne Shorter documents
a 50-year jazz career
on two discs

With the Dec. 29 release of Michelle Mercher's biography of Wayne Shorter, one of jazz's more self-effacing masters, it's only right that his 50-year career should be documented as well on this companion CD set made up of select tracks.

"Footprints: The Life and Music of Wayne Shorter" Wayne Shorter (Columbia/Legacy)

"This compilation represents the DNA of my full life and work," Shorter writes in the liner notes. "Those who listen closely will hear a sample of the whole story here."

And it's a rich story that's gone full circle -- from his tenure in the 1950s with Art Blakey's Jazz Messengers to his welcome return nowadays as leader of his own quartet -- that can be heard on the two CDs.

Besides showing Shorter as a man of impeccable personal and musical integrity, the music contained herein exemplifies how he's always surrounded himself with players of an equally high caliber, kicking off with his jaunty and confident "Lester Left Town" from a Jazz Messengers recording date.

While he's always been a judicious soloist, whether on the tenor or soprano saxophone -- favoring carefully formed thoughts over showoff flash -- the "Footprints" anthology also showcases what a fine composer he is, as well.

It can be heard on the two selections, "Speak No Evil" and "Infant Eyes," from his Blue Note solo albums; his contributions as a member of Miles Davis' celebrated 1960s quintet (especially the minor blues of the title track); and the writing he did for Weather Report, the pioneer fusion jazz band of the '70s that he co-founded with Joe Zawinul.

Since Zawinul had such a strong ego who dominated the band's direction, it seemed it was Shorter's role in Weather Report to be the human voice that stayed connected to its jazz roots. Three of his better compositions for the band -- "Lusitanos," "Elegant People" and especially his tribute to the famous New York Latin club, "Palladium" -- are included in this compilation.

After its disbandment, Shorter put out a wonderful Brazilian solo album, "Native Dancer" (still worth looking for), did some freelance work -- notably his tenor solo (constructed from just two takes!) on Steely Dan's "Aja," found here -- and, finally, some headline recordings for Columbia in the '80s.

It's good to rediscover some of his better compositions of that time, including "Mahogany Bird" and "Joy Ryder," which, while dated by the debatable use of synthesizers, is still a fine piece of writing by a man who's still at the top of his game.