It’s almost as if Wayne Shorter had materialised from nowhere. A brief stint with Maynard Ferguson drew attention, but as word got around, in 1959 it was Art Blakey who was quick to snap Wayne up as a Jazz Messenger where he remained for five years until 1964 when he got that call from Miles. For someone so new, Wayne made his recording debut with about the fastest company around – his Messengers front line side-kick Lee Morgan and Miles’ then rhythm machine. If that doesn’t separate the men from the boys… you know the rest. These recordings that he taped for Chicago’s predominantly R&B Vee Jay label may well capture young Wayne working in Trane’s shadow, but he’s still able to partly imbued the occasion his own identity. But, it wouldn’t be until he moved to Blue Note in 1964 and cut Juju followed by Speak No Evil and Adam’s Apple that he helped opened up a fresh new directions separate from those of Miles. Of these Vee-Jay recordings, the standout is by far his interpretation of ‘Mack The Knife’. Only an essential purchase if you’re already in possession of all the Messengers, Miles and Blue Note material.