REFLECTION: the bopulicous “Night Dreamer” is considered the prodigious Blue Note Records debut by saxophonist/composer Wayne Shorter

Wayne Shorter, NIGHT DREAMER (RELEASED: April 29, 1964)

With four projects behind him, it was Shorter’s Blue Note debut “NIGHT DREAMER,” he came armed with a decisive strategy, poised and determined spirit with not only strands of wisdom from prior records but maximum smoke to six original compositions as a statement, footprint, and artistic voice to emerge as a beacon of light with a bright future in jazz waiting to envelop him. Influenced by Trane, he not only mirrored his style but it’s Shorter’s approach, and his writing skills showed unexpected maturity earned him a spot among the best. Therefore, to make this project manifest with unprecedented glory he called on the finest talent in the game, Lee Morgan, McCoy Tyner, Reggie Workman, and Art Blakey to record this impressive head bopper titled “NIGHT DREAMER.”

As I listened intently, I’ve discovered Shorter’s voice and talent were sharpened and developed during his tenure with Art Blakey’s Jazz Messengers. The opening selection “NIGHT DREAMER,” and title track set the tone of what was yet to be unveiled throughout this thoughtful and mesmerizing collection of tunes. Even today, “ORIENTAL FOLK SONG” a favorite is a boss jam with each spin it draws me to the core of his stimulating tonality and solace that comes with his smoldering timbre. By now, any serious jazz aficionado is aware that Mr. Shorter has ascended beyond the shadows of expectation, great players and composers alike to become one of the most revered, and accomplished musicians and composers in jazz today.

At a glance, on “VIRGOShorter’s moaning bravado shimmers quietly yet he convincingly engages in harmonic nuances with a softly spoken zeal, thirst, and hunger. Next up, Shorter‘s bop-infectious “BLACK NILE” erupts with unmatched interplay provided by the stellar cast of musicians also shines a light on his unmatched valor as a seasoned player. On the hip-swaying “CHARCOAL BLUES,” Shorter makes his mark as a contender, one to reckon with as a certified bluesologist. He closes the session with the ambitious “ARMAGEDDON,” once more he demonstrates why he’s the new player in town with serious skills. As a student of jazz, Shorter showed critics right or wrong he met the challenge he learned to adapt these tools of the trade and mastered these gifts as an emerging voice landed with perfect-timing on Blue Note Records to give jazz enthusiast worldwide an earth-shaking masterpiece called “NIGHT DREAMER.”

Listen and discover why music lovers deem “NIGHT DREAMER” one of the best by Wayne Shorter.


Blue Note Records has announced a July 30 release date for Lee Morgan The Complete Live at the Lighthouse, an expansive collection that presents for the very first time all 12 sets of music the legendary trumpeter’s quintet with saxophonist Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt, and drummer Mickey Roker recorded during their historic engagement at The Lighthouse in Hermosa Beach, California from July 10-12, 1970. Originally released 50 years ago in 1971 as a 2-LP set, and later expanded to a 3-CD set in 1996, this definitive edition produced by Zev Feldman and David Weiss will be available as an 8-CD set and a limited-edition 12-LP all-analog 180g vinyl set that encompasses 33 performances including more than 4 hours of previously unreleased music that lets the listener relive the experience of being in the club for every exhilarating moment. A previously unreleased version of Mabern’s composition “The Beehive” from the 2nd set on Saturday, July 11 is available now to stream or download.


Both physical formats are accompanied by an enlightening booklet featuring new interviews with Bennie Maupin and the last extensive interview with Jymie Merritt before his passing last year; essays by Jeffery McMillan (author or Delightfulee: The Life and Music of Lee Morgan) and Michael Cuscuna; statements from Jack DeJohnetteWallace RoneyNicholas PaytonCharles TolliverEddie HendersonDave Douglas, and others; previously unpublished photos by Joel Franklin and Lee Tanner; as well as a statement from Morgan’s family. The audio was mixed from the original ½” 4-track tapes by Steve Genewick at Capitol Studios with LP mastering by Kevin Gray at Cohearent Audio and 180g vinyl manufactured at Record Technology Inc. (RTI) in Camarillo, California. CD mastering was done by Robert Vosgien at Capitol Studios.

Bennie Maupin, saxophonist

Right from the beginning, we developed such a heart-to-heart connection with each other. I think that’s really reflected in what we did. It was just about being in the moment and capturing the moment, and we did that.

Jymie Merritt, bassist

In a sense, it is holy music. And that was the thing I felt throughout the performances at The Lighthouse, this was totally uncompromised music in terms of the way it went down.

Don Was, President, Blue Note Records

“’Live at the Lighthouse’ probably gives us the clearest picture of where Lee Morgan was headed and, as such, is a record of monumental importance.

Zev Feldman, producer

“‘Live at the Lighthouse’ is an all-time desert island disc for me and to be ushering in a complete edition of this magnitude—each set, night-by-night just like if you were at the club witnessing it live—is nothing short of a dream come true. This was one of the very first projects I wanted to pursue when I came to Blue Note. I had prior knowledge that there was 4-plus hours of unissued material sitting on the shelves, but I didn’t realize how great it was until hearing it all. Just as these musicians worked to create a recording that would stand the test of time, we made every effort to create a package that would serve that legacy.


Lee Morgan – trumpet, flugelhorn
Bennie Maupin – tenor saxophone, flute, bass clarinet
Harold Mabern – piano
Jymie Merritt – Ampeg bass
Mickey Roker – drums

Jack DeJohnette – drums (on “Speedball” from Friday, July 10, Set 4)

Original recordings produced by Francis Wolff


*previously unissued

Friday, July 10, 1970

Set 1

Introduction by Lee Morgan (2:06)

The Beehive (12:51) *

Introduction (0:20)

Something Like This (12:43)

Yunjana (14:28) *

Speedball (4:34) *

Set 2

I Remember Britt (16:45) *

Introduction (0:19)

Absolutions (21:55) *

Speedball (3:46) *

Set 3

Introduction (0:33)

Neophilia (18:52) *

Introduction (0:47)

416 East 10th Street (11:46)

The Sidewinder (12:49)

Speedball (0:53)

Set 4

Introduction (0:30)

Peyote (13:23) *

Speedball (11:55)

Saturday, July 11, 1970

Set 1

Aon (13:47)

Introduction (0:21)

Yunjana (17:32) *

Set 2

Introduction (0:14)

Something Like This (11:46) *

Introduction (0:28)

I Remember Britt (14:25)

Introduction (0:47)

The Beehive (15:23) *

Speedball (7:00) *

Set 3

Neophilia (19:18) *

Nommo (17:44)

Set 4

Peyote (11:24) *

Absolutions (22:28)

Sunday, July 12, 1970

Set 1

Introduction (1:37)

Something Like This (15:39) *

Introduction (0:29)

Yunjana (16:07)

Set 2

I Remember Britt (16:19) *

Absolutions (19:35) *

Speedball (0:27)

Set 3

Introduction (1:19)

Neophilia (18:59)

Introduction (0:46)

The Beehive (15:11)

Speedball (1:59)

Set 4

Peyote (9:27)

Nommo (19:19) *