Speak No Evil

Recording history and tape provenance

By December 1964 Van Gelder's Englewood Cliffs studio was producing the most sophisticated recordings of his career, and Shorter arrived at what was arguably the peak of his Blue Note period as a composer. The five musicians assembled – Shorter, Hubbard, Hancock, Carter, and Elvin Jones – collectively represent one of the great one-off supergroups of hard bop. None of them were Shorter's regular working band; they were brought together specifically for this date, which makes the cohesion of the playing all the more striking.

Alfred Lion's production approach – extended time in the studio, patience through many takes, capturing the energy of live performance – is fully evident. The extreme take counts (Fee-Fi-Fo-Fum at Take 25, Dance Cadaverous at Take 27) reflect Shorter's perfectionism rather than any technical difficulty. A 1999 CD reissue supervised by Rudy Van Gelder included a previously unissued alternate take of "Dance Cadaverous"; a 2013 Japanese SHM-CD added two further previously unissued alternate takes.

In a Blue Note Records interview, Shorter himself described the session's ritual: Alfred Lion and Francis Wolff would gather the musicians at the Empire Hotel with boxes of food and drink, then head over to New Jersey together, staying until the record was finished – "it was like a big party," with no fixed schedule for when a session had to happen. He also gave the origin of several titles directly: "Fee-Fi-Fo-Fum" draws on fairy tales, which he felt "still have a lot of information" and "secrets" that can correct "erroneous stuff that continues today." "Dance Cadaverous" was inspired by a film featuring a carnival where the dead gather at midnight to dance, insisting they never really died. The title track concerns truth and lies – how what comes out of one's mouth "can create havoc and negative evilness" or, alternately, real value, since truth alone "doesn't really mean anything unless it has value." "Infant Eyes" was written for his daughter Miyako, born in 1961 – a detail not credited on the original release, though the album's own publishing company is listed as "Miyako Music, Inc.," independently confirming the connection. "Wild Flower," the closing track, connects to the album cover: the photo was shot near what's now Newark Airport in New Jersey, formerly a swamp with reeds and quicksand where actual wildflowers grew.

Mono vs. stereo: Unlike many Blue Note titles from 1959–1963 where the stereo was a secondary fold-down, Van Gelder by 1964 was running parallel mono and stereo recording chains. Both presentations derive from their own native tape. The stereo opens the soundstage considerably – Elvin Jones's polyrhythmic drumming spreads wide across the right channel, and the front-line horns sit forward in a natural left-centre-right space. The mono has the concentrated, pressurised quality of a single-point listening experience that many collectors prefer for the rhythm section interaction. LondonJazzCollector on the original mono: "cut 30% louder than any Tone Poet, MM33 or Vinyl Classic and has an organic vitality unique to Van Gelder mono mastering."

Music Matters chose to issue Speak No Evil only in stereo – a deliberate editorial decision reflecting their view that the stereo presentation is superior for this recording. The Blue Note Classic Vinyl series also issued stereo only.

Tape provenance: The original Alfred Lion–era tapes are in the Blue Note/Universal archive. Music Matters confirmed working directly from the original stereo master tape; Kevin Gray's cuts for both Music Matters and the Blue Note Classic Vinyl series show the tapes are in excellent condition.

Original US Blue Note pressings

Catalogue: BLP 4194 (mono) / BST 84194 (stereo). Both were released simultaneously in 1966.

First stereo pressing – New York USA label (with Plastylite)

The most sought-after first pressings carry the "Blue Note Records Inc. • New York USA" label (the address format used 1964–67 before the Liberty acquisition):

• Blue and white labels
• Plastylite ear (the "P" etching) in the deadwax
• VAN GELDER stamped in the deadwax
• Non-laminated gatefold sleeve (Blue Note had ceased laminated covers by this era)
• Matrix: BNST-84194-A VAN GELDER P / BNST-84194-B VAN GELDER P

Note: Speak No Evil was released in 1966; Blue Note had phased out both deep groove labels and laminated covers by approximately 1963–64, so first pressings of this title do not carry those features.

These are the sonic benchmark. Discogs reviewer: "If you want to buy only one Wayne Shorter album, this is it! A true masterpiece from start to finish." Another notes that original stereo copies have a notably wide panning – the balance tends to sit quite right-heavy in some copies. NM copies command a substantial premium over VG+.

Second stereo pressing – New York USA (no Plastylite)

New York USA labels, VAN GELDER stamped but no Plastylite "P". Non-laminated cover. Sonically considered very close to the first pressing; the Plastylite pressing difference on this title is debated.

First mono pressing – BLP 4194

The mono is somewhat less sought-after than the stereo on the secondary market (reflecting the preference for the stereo's wide soundstage on this particular title) but delivers the concentrated RVG mono experience many collectors prize. Same New York USA label period, same Van Gelder/Plastylite deadwax authentication. LJC on the original mono: the organic vitality of Van Gelder's tube-era mono mastering is audible even on Liberty copies.

Liberty and United Artists era (1966–1973)

After Liberty Records acquired Blue Note in 1966, pressings show "A Division of Liberty Records Inc." on the label. Van Gelder stamps remain on many early Liberty pressings (these used original metalwork), making them sonically acceptable. Later United Artists pressings (1971–73, r7778903) vary: those that used original Van Gelder–cut metalwork will carry the VAN GELDER stamp and are sonically close to the Liberty copies; those without the stamp were cut from new lacquers by other engineers and are noticeably inferior. Always check the deadwax – the stamp is the key indicator, and stamped copies command a real premium over unstamped ones.

French Pathé Marconi pressing (1983)

A French pressing from Pathé Marconi that receives strong collector reviews for a European issue: "I like this pressing very much... sounds wonderful." Bright but not harsh. Note that Pathé Marconi was an early adopter of Direct Metal Mastering (DMM) technology from 1982 onward; this 1983 pressing may be a DMM cut rather than a conventional lacquer – check the deadwax for DMM identification. A recommended affordable alternative when originals are out of reach.

The reissue hierarchy

Music Matters 45rpm 2LP stereo (2012) – the collector audiophile benchmark

Cat. MMBST-84194 | Format: 2×180g 45rpm, gatefold. Mastered by Kevin Gray (Cohearent Audio) and Steve Hoffman (AcousTech), AAA, from the original stereo master tape. Pressed at RTI. Music Matters issued Speak No Evil in stereo only, and the 45rpm 2LP is the apex of their work on this title.

LondonJazzCollector on the Music Matters stereo: "MM deliver a luxurious widescreen presentation, left and right instruments extending beyond the boundaries of the speakers… The MM conveys the emotion in the music more strongly than my other vintage stereo reissues. A very satisfying listen that encouraged me to revisit the music in a fresh way."

Out of print.

Music Matters 33rpm stereo – standard and SRX editions

Cat. MMBST-84194 | The 2015 standard 33rpm uses Kevin Gray's mastering from the original stereo tape, pressed at RTI. The 2020 SRX pressing uses the same Kevin Gray mastering, pressed at QRP, with a different vinyl formulation. Both are excellent and considerably more affordable than the 45rpm.

Blue Note Classic Vinyl 180g (2021) – the accessible modern option

Cat. 0744042 / BST 84194 | Format: 180g LP, 33⅓. Mastered by Kevin Gray at Cohearent Audio, from the original analog master tape. Pressed at Optimal in Germany. Discogs. The Blue Note Classic Vinyl Speak No Evil is one of the best received in the series. Multiple owners report flat, quiet pressings with genuinely excellent sound. Some early batches had QC variation – inspect if buying secondhand. Kevin Gray's cut has been praised: "Perfectly Flat ✅ Dead Centered ✅ Silent Grooves ✅ Superb Recording ✅ Lovely AAA Remastering ✅ And all for £22." Another: "This is just outstanding work. A perfect pressing. It's hard to improve on the original but this really is as good as it gets."

Blue Note 85th Anniversary blue vinyl (2024)

Limited to 3,000 copies. 180g blue vinyl (r31430060); same Kevin Gray cut as the Classic Vinyl. A collectible curiosity for the colour, not for any sonic advantage.

Pressings to avoid

United Artists/Liberty era without Van Gelder stamp: The later UA pressings (1971–73) cut from new lacquers – identifiable by the absence of the VAN GELDER stamp in the deadwax – are inferior to the Classic Vinyl at its current price. UA copies with the VAN GELDER stamp used original metalwork and are a different matter entirely (see tier C above).

1970s Capitol/EMI "MASTERED BY LIBERTY" pressings: These were cut by Capitol/EMI engineers using their own equipment – no Van Gelder involvement. Identified by the "MASTERED BY LIBERTY" stamp. Noticeably thinner-sounding than originals or the Classic Vinyl.

Generic European budget reissues: Various sub-label European pressings without tape access. Not recommended over the Classic Vinyl.

Buyer's guide by budget

$ (Budget): The Blue Note Classic Vinyl BST 84194 (2021) – Kevin Gray, 180g, Optimal. The recommended starting point; consistently flat and quiet, and among the best-received releases in the series.

$$$$ (Premium): The Music Matters 33rpm SRX stereo (2020) if found at a reasonable price. Same Kevin Gray mastering, QRP pressing, superior pressing quality to the Classic Vinyl.

$$$$$ (Grail / Rare): The Music Matters 45rpm 2LP (MMBST-84194, 2012) on the secondary market – the audiophile statement for this album in stereo; luxurious presentation. Also in this range: a New York USA label stereo BST 84194 (with Plastylite) in honest VG+ condition – the vintage collector option with Van Gelder's original tube-era lacquer.

$$$$$ (Grail / Rare): NM first pressing BST 84194 with Plastylite in genuine NM condition – for the collector who wants both provenance and the original Van Gelder cut. Or a BLP 4194 first mono pressing for the compressed, organic mono experience.

Pressing tier summary

References

• Discogs (master): https://www.discogs.com/master/140424-Wayne-Shorter-Speak-No-Evil
• Wikipedia, "Speak No Evil (Wayne Shorter album)": https://en.wikipedia.org/wiki/Speak_No_Evil_(Wayne_Shorter_album)
• LondonJazzCollector, "Wayne Shorter: Speak No Evil (1964) Blue Note MM33": https://londonjazzcollector.wordpress.com/2015/12/02/wayne-shorter-speak-no-evil-1964-blue-note-mm33/
• LondonJazzCollector, "Wayne Shorter: Speak No Evil (1964) Liberty Mono (1966)": https://londonjazzcollector.wordpress.com/2024/04/13/wayne-shorter-speak-no-evil-1964-liberty-mono-1966/
• Discogs release and community listings for all pressings referenced in the tier table above (original BST 84194/BLP 4194 New York USA, Music Matters MMBST-84194 45rpm and 33rpm/SRX, Blue Note Classic Vinyl, Blue Note 85th Anniversary, Liberty/UA era, French Pathé Marconi)
• YouTube, Blue Note Records, "Wayne Shorter on 'Speak No Evil'": https://www.youtube.com/watch?v=iPi0iiIAw7k

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