Woody Shaw -

Woody Shaw (December 24, 1944 — May 10, 1989) was an American trumpeter and composer.

He recorded as a leader from 1970 to 1987, issuing albums for Contemporary, Muse, and Columbia, including Blackstone Legacy, Rosewood, and Stepping Stones. His sideman work spanned sessions with Eric Dolphy, Horace Silver, Larry Young, McCoy Tyner, and Dexter Gordon.

Shaw’s catalog introduced widely performed compositions such as “The Moontrane,” “Zoltan,” and “Rosewood,” and his teaching shaped the development of younger trumpeters.

Background

He was born Woody Herman Shaw Jr. on Christmas Eve 1944 in Laurinburg, North Carolina, and moved to Newark, New Jersey, at one year old. His father, Woody Shaw Sr., sang in a gospel group called the Diamond Jubilee Singers. Both of his parents attended the same private school, the Laurinburg Institute, as jazz great Dizzy Gillespie, who hailed from Cheraw, South Carolina, the same town as Shaw’s mother.

At age nine, Shaw began playing the bugle and performed in various drum and bugle corps. Although he initially wanted to play the violin, he was assigned the trumpet at age eleven and quickly fell in love with the instrument, influenced by masters like Louis Armstrong and Harry James. He later attended Newark Arts High School, the alma mater of Wayne Shorter and Sarah Vaughan. At Newark Arts High School, he studied music formally and took influence from Dizzy Gillespie, Clifford Brown, and Freddie Hubbard.

Early Career

Shaw emerged professionally in the early 1960s. His first recording was Eric Dolphy’s Iron Man (1963), cut during Dolphy’s final sessions. Soon after, Shaw moved to Paris and joined saxophonist Nathan Davis in a quartet with organist Larry Young and drummer Billy Brooks. The group played at Le Chat Qui Peche and toured Europe. While in Paris, Shaw performed with expatriates Bud Powell, Kenny Clarke, and Dexter Gordon.

He returned to the United States in 1965 and became active on Blue Note Records. Shaw joined the Horace Silver Quintet and debuted on The Cape Verdean Blues (1965). That year he also appeared on Larry Young’s Unity, which introduced three of Shaw’s compositions: “Zoltan,” “Moontrane,” and “Beyond All Limits.” He played on Chick Corea’s Tones for Joan’s Bones (1966), Jackie McLean’s Demon’s Dance (1967), and McCoy Tyner’s Expansions (1968).

Jazz Patterns

Everest issued Jazz Patterns, a live album by Joe Henderson and Woody Shaw, in 1982 on the Archive of Folk & Jazz Music imprint.

The LP contains 1970 Lighthouse Café performances by the Henderson quintet, with Shaw co-billed on the sleeve and paired with Henderson across the front line. Henderson and Shaw perform with keyboardist George Cables and bassist Ron McClure. Drummer Lenny White completes the quintet.

“Invitation” surges through a clipped theme, spiraling tenor, and electric-piano space. “Punjab” coils around a terse line and quick ensemble turns. “Power to the People” fractures the theme into loose trumpet-tenor dialogue, backbeat pressure, and freer closing choruses.

A1. “Invitation” (15:07) – Bronisław Kaper, Paul Francis Webster
A2. “Punjab” (8:58) – Henderson
B1. “Power to the People” (17:07) – Henderson

Bernie Grundman recorded the performances during a September 1970 Henderson engagement at The Lighthouse Café in Hermosa Beach. Real Gone Music restored the corrected titles for the 2025 LP reissue.

Bandleader Years

Shaw recorded his first album as leader, Blackstone Legacy, in 1970 for Contemporary Records, followed by Song of Songs (1972). After a period in San Francisco, he returned to New York and recorded for Muse Records. His albums for the label include The Moontrane (1974), Love Dance (1975), and Little Red’s Fantasy (1976), featuring musicians from both the post-bop and avant-garde scenes such as Anthony Braxton and Muhal Richard Abrams. He also appeared on Bobby Hutcherson’s Cirrus (1974) and Art Blakey’s Buhaina (1973).

In 1977, Shaw signed with Columbia Records. His Columbia debut Rosewood (1978) earned two Grammy nominations and was voted Jazz Album of the Year in the DownBeat Readers’ Poll. The magazine also named him Jazz Trumpeter of the Year. He followed with Stepping Stones: Live at the Village Vanguard (1978), Woody III (1979), and For Sure! (1979).

Shaw’s compositions became part of the modern jazz repertoire. “The Moontrane,” written when he was eighteen, was first recorded on Unity and later re-recorded as the title track of his Muse debut. Other notable works include “Zoltan,” “Beyond All Limits,” “Rosewood,” and “Stepping Stones.” These pieces employ polytonality, shifting key centers, and interval-based structures.

Blackstone Legacy

Woody Shaw released his leader debut, Blackstone Legacy, in 1971 on Contemporary.

The album contains four Shaw pieces and two George Cables compositions across a two-LP program. Shaw performs with reedists Gary Bartz (alto/soprano sax) and Bennie Maupin (tenor sax, bass clarinet). The rhythm section pairs keyboardist George Cables with acoustic bassist Ron Carter and electric bassist Clint Houston. Drummer Lenny White completes the ensemble.

“Blackstone Legacy” launches with Shaw’s bright call, a brisk pulse, and active solo exchanges. “Think on Me” glides through Cables’s broad theme and a clean forward line. “Lost and Found” surges behind an ascending horn line and brooding ensemble harmony. “New World” prowls through a thick low-end figure and distorted keyboard color. “Boo-Ann’s Grand” unfurls a broad line across wide solo choruses. “A Deed for Dolphy” darkens into shadowed harmony and a flute-tinted close.

A1. “Blackstone Legacy” (16:08) – Shaw
B1. “Think on Me” (10:49) – Cables
B2. “Lost and Found” (11:57) – Shaw

C1. “New World” (18:30) – Cables
D1. “Boo-Ann’s Grand” (14:35) – Shaw
D2. “A Deed for Dolphy” (8:59) – Shaw

Lester Koenig produced the December 8 and 9, 1970 sessions at A&R Studios in New York with engineer Don Hahn.

Contemporary issued Blackstone Legacy as a two-LP gatefold with liner notes by Nat Hentoff and Shaw.

Song of Songs

Woody Shaw released his second leader album, Song of Songs, in 1973 on Contemporary.

The album contains four Shaw originals, performed by Shaw with reedist Emanuel Boyd (flute, tenor sax), tenor saxophonists Ramon Morris and Bennie Maupin, keyboardist George Cables, bassist Henry Franklin, and drummer Woodrow Theus II.

“Song of Songs” coils tenor pairs and flute around Shaw’s lead and unsettled harmonic turns. “The Goat and the Archer” lopes through a blues ground, descending-fourth figures, and major-minor third ambiguity. “Love: For the One You Can’t Have” lingers on a ballad pulse. “The Awakening” scatters the ensemble into free-form calls and open-register responses.

A1. “Song of Songs” (11:37)
A2. “The Goat and the Archer” (7:33)

B1. “Love: For the One You Can’t Have” (10:03)
B2. “The Awakening” (8:44)

Lester Koenig and John Koenig produced the September 15 and 18, 1972 sessions at the Contemporary studio in Los Angeles with engineer Michael Denecke.

George Kershaw designed the cover package with photography by Brent Lopez.

The Moontrane

Woody Shaw released his third leader album, The Moontrane, in 1975 on Muse.

The album contains two Shaw originals, plus one piece each by Onaje Allan Gumbs, Azar Lawrence, and Steve Turre. Shaw performs with trombonist Steve Turre, reedist Azar Lawrence (tenor/soprano sax), keyboardist Onaje Allan Gumbs (piano, electric piano), bassists Buster Williams and Cecil McBee, drummer Victor Lewis, conga player Tony Waters, and percussionist Guilherme Franco.

“The Moontrane” launches Shaw’s unison theme through sharp interval leaps, changing harmonies, and compact trumpet figures. “Are They Only Dreams” shifts from a lithe Latin beat to a brighter electric-piano pulse. “Tapscott’s Blues” snaps through a quick jagged line, cymbal drive, Gumbs’s shifting piano patterns, and a buzzing low-end recap. “Sanyas” stretches a Latin-tinged modal vamp into soprano-led pressure, clean Shaw lines, and a prominent bass solo. “Katrina Ballerina” swings in waltz time, then tightens around turbulent double-time clusters and lower-register Shaw figures.

A1. “The Moontrane” (6:54) – Shaw
A2. “Are They Only Dreams” (9:12) – Gumbs
A3. “Tapscott’s Blues” (6:41) – Lawrence

B1. “Sanyas” (13:05) – Turre
B2. “Katrina Ballerina” (7:36) – Shaw

Michael Cuscuna produced the December 11 and 18, 1974 sessions at Blue Rock Studio in New York with engineers Jan Rathburn and Eddie Korvin.

Ron Warwell designed and photographed the cover package.

Love Dance

Woody Shaw released his fourth leader album, Love Dance, in 1976 on Muse.

The album contains five pieces by five composers: Joe Bonner, Larry Young, Peggy Stern, Shaw, and Billy Harper. Shaw performs with trombonist Steve Turre (trombone, bass trombone), reedist René McLean (alto/soprano sax), tenor saxophonist Billy Harper, pianist Joe Bonner, bassist Cecil McBee, drummer Victor Lewis, conga player Tony Waters, and percussionist Guilherme Franco.

“Love Dance” simmers over a rhythmic motif, layered horn harmonies, conga pressure, and Shaw’s wide-interval lead. “Obsequious” charges through chromatic harmony, a driving tenor lead, electric-piano solo space, and extended Shaw-McBee solos. “Sunbath” loosens into a languid bottom vamp, bass-trombone weight, and an angular Bonner solo. “Zoltan” snaps from a marchlike motif into swift swing, unison vamps, soprano color, and bristling brass. “Soulfully I Love You (Black Spiritual of Love)” lingers on four-horn harmony, a slipped-in counterline, and a later mid-tempo solo passage.

A1. “Love Dance” (12:37) – Bonner
A2. “Obsequious” (9:28) – Young

B1. “Sunbath” (6:33) – Stern
B2. “Zoltan” (6:48) – Shaw
B3. “Soulfully I Love You (Black Spiritual of Love)” (8:13) – Harper

Michael Cuscuna produced the November 1975 sessions at Blue Rock Studio in New York with engineer Eddie Korvin.

Hal Wilson oversaw the cover package with his own design and photography.

Little Red’s Fantasy

Woody Shaw released his fifth leader album, Little Red’s Fantasy, in 1978 on Muse.

The album contains three Shaw originals, plus one piece each by Ronnie Mathews and Stafford James. Shaw records in a quintet with alto saxophonist Frank Strozier, pianist Ronnie Mathews, bassist Stafford James, and drummer Eddie Moore.

“Jean Marie” circles exploratory waltz vamps behind a thick Shaw-Strozier line. “Sashianova” bends bossa pulse into edgy phrasing and dark alto-trumpet blend. “In Case You Haven’t Heard” darts through four Lydian-scale rotations, clipped volume jumps, and upper-register Shaw spikes. “Little Red’s Fantasy” lingers on a ballad theme and dark middle bridge. “Tomorrow’s Destiny” pivots between an intervallic line, Latin-to-swing shifts, pedal points, and advanced harmony.

A1. “Jean Marie” (7:49) – Mathews
A2. “Sashianova” (9:58) – James

B1. “In Case You Haven’t Heard” (6:25) – Shaw
B2. “Little Red’s Fantasy” (7:05) – Shaw
B3. “Tomorrow’s Destiny” (7:45) – Shaw

Michael Cuscuna produced the June 29, 1976 session at Blue Rock Studio in New York with engineers Jan Rathbun and Michael Ewasko. Eddie Korvin mixed the album.

Hal Wilson oversaw the cover package with design and illustration by Oliver Wasow.

Rosewood

Woody Shaw released his first Columbia studio album, Rosewood, in 1978 on Columbia.

The album contains three Shaw originals, plus pieces by Onaje Allan Gumbs, Victor Lewis, and Clint Houston. Shaw performs with a large ensemble built around trombones, reeds, flute, rhythm section, and hand percussion. The sessions include trombonists Janice Robinson and Steve Turre, flutists Art Webb and Frank Wess, reedists Jimmy Vass, Joe Henderson, Carter Jefferson, and René McLean, keyboardist Onaje Allan Gumbs, bassist Clint Houston, drummer Victor Lewis, conga player Sammy Figueroa, percussionist Armen Halburian, and harpist Lois Colin.

“Rosewood” rises from a broad opening call into poised ensemble swells. “Every Time I See You” glides through close harmonies and relaxed phrase endings. “The Legend of Cheops” pivots through ceremonial accents and sharper ensemble figures. “Rahsaan’s Run” darts through clipped theme fragments and quick solo turns. “Sunshowers” expands from a poised theme into looser ensemble heat. “Theme for Maxine” lingers on a tender line and closes through paired phrases.

A1. “Rosewood” (7:11) – Shaw
A2. “Every Time I See You” (7:14) – Gumbs
A3. “The Legend of Cheops” (6:04) – Lewis

B1. “Rahsaan’s Run” (5:10) – Shaw
B2. “Sunshowers” (7:48) – Houston
B3. “Theme for Maxine” (7:14) – Shaw

Michael Cuscuna produced the December 15, 17, and 19, 1977 sessions at CBS 30th Street Studio in New York.

The Recording Academy nominated Rosewood in the 1979 categories for Best Jazz Instrumental Performance, Soloist and Best Jazz Instrumental Performance, Group.

Woody III

Woody Shaw released his second Columbia studio album, Woody III, in 1979 on Columbia.

The album contains five Shaw originals and one Clint Houston piece. Shaw dedicates the three-part title sequence to his father, himself, and his son, Woody Louis Armstrong Shaw III. The studio sessions include trumpeter Charles Sullivan, reedists René McLean, James Spaulding, and Carter Jefferson, trombonists Curtis Fuller and Steve Turre, keyboardists Onaje Allan Gumbs and George Cables, bassist Buster Williams, drummer Victor Lewis, and percussionists Azzedin Weston and Nobu Urushiyama.

“Woody I: On the New Ark” unfolds through layered voicings and suspended calls. “Woody II: Other Paths” tightens into darker turns and unsettled harmonic motion. “Woody III: New Offerings” broadens the suite through fuller replies and upward lines. “To Kill a Brick” jolts through hard angles and abrupt stops. “Organ Grinder” coils around a repeated figure. “Escape Velocity” surges through rapid dialogue and extended choruses.

A1. “Woody I: On the New Ark” (7:17) – Shaw
A2. “Woody II: Other Paths” (6:50) – Shaw
A3. “Woody III: New Offerings” (8:28) – Shaw

B1. “To Kill a Brick” (7:40) – Shaw
B2. “Organ Grinder” (5:30) – Shaw
B3. “Escape Velocity” (11:07) – Houston

Michael Cuscuna produced the studio sessions at C & I Recording Studio and CBS 52nd Street Studio B in New York. Shaw recorded “Woody I: On the New Ark” and “Woody II: Other Paths” on January 18, 1979, “Woody III: New Offerings” and “To Kill a Brick” on January 19, and “Organ Grinder” on January 24.

For Sure!

Woody Shaw released his third Columbia studio album, For Sure!, in 1980 on Columbia.

The album contains three Shaw originals, plus pieces by Carl T. Fischer and Frankie Laine, Judi Singh, Victor Lewis, and Larry Willis. Shaw performs with keyboardist Larry Willis, bassist Stafford James, drummer Victor Lewis, and percussionist Naná Vasconcelos. The sessions also include vocalist Judi Singh, reedists James Spaulding, Gary Bartz, and Carter Jefferson, trombonists Curtis Fuller and Steve Turre, violinists Gayle Dixon and Winterton Garvey, violists Maxine Roach and Veronica Salas, and cellists Akua Dixon Turre and Richard Locker.

“We’ll Be Together Again” lingers on a restrained ballad line. “OPEC” clips brisk accents into compact figures. “Time Is Right” sways through light vocal color and buoyant turns. “Ginseng People” coils around a taut recurring figure. “Why?” softens into measured vocal lead. “Joshua C.” charges through a hard-lined theme and fast counterphrases. “Isabel the Liberator” stretches a broad theme into a long-form solo statement.

A1. “We’ll Be Together Again” (5:44) – Carl T. Fischer, Frankie Laine
A2. “OPEC” (5:24) – Shaw
A3. “Time Is Right” (4:27) – Singh

B1. “Ginseng People” (5:30) – Shaw
B2. “Why?” (4:51) – Lewis
B3. “Joshua C.” (7:11) – Shaw
B4. “Isabel the Liberator” (8:27) – Willis

Michael Cuscuna produced the December 17, 18, 20, and 27, 1979 sessions at CBS 52nd Street Studio B in New York. The string overdubs for “Time Is Right” occurred on January 4, 1980.

The Iron Men

Woody Shaw released The Iron Men in 1981 on Muse and shared the front-cover billing with Anthony Braxton.

The album contains pieces by Eric Dolphy, Fats Waller, and Andrew Hill, plus “Song of Songs” by Shaw and two short Shaw/Abrams/McBee trio pieces. Shaw alternates trumpet with cornet and flugelhorn. Braxton appears on clarinet and alto/soprano saxophones. Pianist Muhal Richard Abrams and bassist Cecil McBee play across the album, while alto saxophonist Arthur Blythe and drummers Joe Chambers and Victor Lewis appear on selected titles.

“Iron Man” cleaves Dolphy’s chart into jagged horn entries, hard-angled intervals, and an entrancing Blythe break. “Jitterbug Waltz” lopes through Braxton clarinet phrases, unsettled Abrams clusters, and a lightly skewed standard form. “Symmetry” swerves through Andrew Hill’s oblique line with Shaw and Braxton pressed into a leaner quintet exchange. “Diversion One” splinters into brief freer exchanges with Shaw, Abrams, and McBee in compressed trio space. “Song of Songs” flares through ceremonial pressure, broad Shaw phrases, and a two-reed chorus after the central solo. “Diversion Two” hovers in a pensive trio close, with flugelhorn phrases set against piano and bass replies.

A1. “Iron Man” (6:30) – Eric Dolphy
A2. “Jitterbug Waltz” (8:26) – Fats Waller
A3. “Symmetry” (8:24) – Andrew Hill

B1. “Diversion One” (2:55) – Woody Shaw, Muhal Richard Abrams, Cecil McBee
B2. “Song of Songs” (13:35) – Shaw
B3. “Diversion Two” (2:52) – Shaw, Abrams, McBee

Michael Cuscuna produced the April 6 and 13, 1977 sessions at Blue Rock Studio in New York.

Stephanie Blumenthal designed the cover package with photography by Craig Cuscuna.

United

Woody Shaw released his fourth Columbia studio album, United, in 1981 on Columbia.

The album contains two Shaw originals, a Wayne Shorter title piece, the Cole Porter standard “What Is This Thing Called Love?,” and “Pressing the Issue” by Mulgrew Miller. Ronnie Mathews shares the “Blues for Wood” credit with Shaw. The core quintet pairs Shaw with trombonist Steve Turre and pianist Mulgrew Miller. Bassist Stafford James and drummer Tony Reedus complete the rhythm section, with alto saxophonist Gary Bartz on selected titles.

“The Greene Street Caper” curls around a muted Shaw solo and clipped phrase turns. “What Is This Thing Called Love?” relays the melody in four-bar parcels and longer breaks before the three-horn line circles a supple rhythm section. “Pressing the Issue” threads short bursts, pulled phrase endings, clean bop logic, and a Latin-tinged undercurrent. “Katrina Ballerina” alternates horn bursts with Miller replies in a compact call-and-response pattern. “Blues for Wood” loosens into a three-horn blend over a blues refrain.

A1. “United” (5:19) – Wayne Shorter
A2. “The Greene Street Caper” (5:28) – Shaw
A3. “What Is This Thing Called Love?” (9:40) – Cole Porter

B1. “Pressing the Issue” (7:02) – Mulgrew Miller
B2. “Katrina Ballerina” (5:37) – Shaw
B3. “Blues for Wood” (7:18) – Ronnie Mathews, Shaw

Michael Cuscuna produced the March 7, 9, and 17, 1981 sessions at Right Track Studios in New York with recording and mixing engineer David Stone. Julian Shapiro assisted the sessions.

John Berg designed the cover package.

Lotus Flower

Woody Shaw released Lotus Flower in 1982 on Enja.

The album contains two Shaw originals and three pieces by members of the quintet. Shaw performs with trombonist Steve Turre and pianist Mulgrew Miller. Bassist Stafford James and drummer Tony Reedus complete the group.

“Eastern Joy Dance” vaults from a bright-toned head into elastic solo space and quick Shaw turns. “Rahsaan’s Run” presses Shaw’s interval language through a taut front-line head and open-ended chorus turns. “Song of Songs” stretches into broad ceremonial phrases, brassy ensemble pressure, and extended Shaw lines.

A1. “Eastern Joy Dance” (9:41) – Miller
A2. “Game” (6:42) – James
A3. “Lotus Flower” (7:01) – Turre

B1. “Rahsaan’s Run” (8:02) – Shaw
B2. “Song of Songs” (11:25) – Shaw

Horst Weber produced the January 7, 1982 session at Vanguard Studios in New York with engineer David Baker. Carlos Albrecht mixed the album.

Working vocabulary — Master of the Art: stretch, answer, space, brighten, recast, trade, lengthen, close; trombone, vibraphone, standard, theme, interview, cadence; live-club, six-piece, brass-and-vibes, extended, acoustic, Jazz Forum-recorded.

Master of the Art

Woody Shaw released the live album Master of the Art in May 1982 on Elektra/Musician.

The album contains four performances and an interview segment from a Jazz Forum set in New York. Shaw performs with vibraphonist Bobby Hutcherson, trombonist Steve Turre, pianist Mulgrew Miller, bassist Stafford James, and drummer Tony Reedus.

“400 Years Ago Tomorrow” pivots from island-lilt phrases into modal heat and leaves room for flexible solo motion. “Diane” eases through the standard changes with rounded flugelhorn phrases and open rhythm-section support. “Misterioso” prods Monk’s line with rests, clipped bursts, and sharp dynamic turns. “Sweet Love of Mine” tightens Shaw’s chord path into broad brass phrases and steady chorus motion.

A1. “400 Years Ago Tomorrow” (10:22) – Davis Jr.
A2. “Diane” (10:27) – Pollack, Rapée

B1. “Misterioso” (17:16) – Monk
B2. “Sweet Love of Mine” (9:41) – Shaw
B3. “The Woody Shaw Interview” (2:40)

Michael Cuscuna produced the February 25, 1982 performance at the Jazz Forum in New York with engineer Malcolm Addey. Elektra/Musician used additional material from the same engagement for the 1983 companion LP Night Music.

Master of the Art reached No. 42 on the Billboard Jazz Albums chart.

In the Beginning [archival]

Muse issued the archival Woody Shaw album In the Beginning in 1983 on Muse.

The album contains five December 1965 pieces from Shaw’s first leader session. Shaw recorded the full program with tenor saxophonist Joe Henderson and drummer Joe Chambers. Pianist Larry Young and bassist Ron Carter appear on “Cassandranite” and “Obsequious,” while pianist Herbie Hancock and bassist Paul Chambers appear on “Baloo Baloo,” “Three Muses,” and “Tetragon.”

“Cassandranite” angles Shaw and Henderson across modal figures while Young comps in spare chords. “Obsequious” presses the same front line through a tighter early-session charge. “Baloo Baloo” brightens with Hancock’s entry, and the horns answer the rhythm with unexpected figures. “Three Muses” threads sprightly Hancock motion between close front-line turns. “Tetragon” leans on Henderson’s contoured theme and keeps the quintet in taut modal pressure.

A1. “Cassandranite” (7:00) – Shaw
A2. “Obsequious” (8:00) – Young

B1. “Baloo Baloo” (6:00) – Johnson
B2. “Three Muses” (6:22) – Shaw
B3. “Tetragon” (6:35) – Henderson

Shaw recorded the material in December 1965 at Van Gelder Studio in Englewood Cliffs, New Jersey. Muse later reissued the album as Cassandranite.

Later Years

In the 1980s, Shaw concentrated on standards and hard bop repertoire. He recorded Setting Standards (1983), Solid (1986), and In My Own Sweet Way (1987). He appeared on Dexter Gordon’s Gotham City (1981) and on Kenny Garrett’s debut Introducing Kenny Garrett (1984).

During the mid-1980s, Shaw recorded three albums with Freddie Hubbard: Double Take (1985), The Eternal Triangle (1987), and Benny Golson’s Time Speaks (1982). His last recording was bassist Neil Swainson’s 49th Parallel (1987).

Double Take

Freddie Hubbard and Woody Shaw released the co-led album Double Take in 1985 on Blue Note.

The album presents a two-trumpet front line with Hubbard on trumpet and flugelhorn and Shaw on trumpet. The sextet includes reedist Kenny Garrett (alto sax, flute), pianist Mulgrew Miller, bassist Cecil McBee, and drummer Carl Allen, with arrangements by Don Sickler.

“Sandu” charges through a clipped blues head before Hubbard and Shaw divide the lead space. “Boperation” darts through a compact bop line with the two horns kept in bright parallel. “Lament for Booker” slows the front line into reflective phrases and deeper brass color. “Hub-Tones” circles Hubbard’s theme with Shaw set against Garrett’s alto replies. “Just a Ballad for Woody” lingers on a restrained Shaw theme and close rhythm-section support. “Lotus Blossom” glides through Dorham’s line and saves the direct Hubbard–Shaw trade for brief closing interplay.

A1. “Sandu” (4:28) – Brown
A2. “Boperation” (4:56) – McGhee, Navarro
A3. “Lament for Booker” (6:22) – Hubbard, Johnson
A4. “Hub-Tones” (6:25) – Hubbard

B1. “Desert Moonlight” (8:10) – Morgan
B2. “Just a Ballad for Woody” (5:30) – Shaw
B3. “Lotus Blossom” (8:15) – Dorham

Michael Cuscuna produced the November 21 and 22, 1985 sessions at Van Gelder Studio in Englewood Cliffs, New Jersey with engineer Rudy Van Gelder. Don Sickler arranged the album.

Double Take reached No. 19 on the Billboard Top Jazz Albums chart during a 1986 chart run.

Setting Standards

Woody Shaw released Setting Standards in 1985 on Muse.

The album contains four standards, one Shaw original, and one Cedar Walton piece. Shaw records in a quartet with pianist Cedar Walton, bassist Buster Williams, and drummer Victor Jones. He plays flugelhorn on “There Is No Greater Love,” “All the Way,” “The Touch of Your Lips,” and “When Love Is New,” then uses trumpet on “Spiderman Blues” and “What’s New?”

“There Is No Greater Love” strides through standard changes with Shaw’s flugelhorn line held against Walton’s compact replies. “All the Way” glides in a warmer register and leaves space around the phrase endings. “Spiderman Blues” refashions the television theme as a blues line with a dry, clipped comic edge. “The Touch of Your Lips” lingers on a closed songbook phrase shape. “What’s New?” curls through darker trumpet lines and slower harmonic turns. “When Love Is New” resolves the set with Walton’s compact theme and a light quartet pulse.

A1. “There Is No Greater Love” (6:58) – Jones, Symes
A2. “All the Way” (7:50) – Cahn, Van Heusen
A3. “Spiderman Blues” (4:45) – Shaw

B1. “The Touch of Your Lips” (6:50) – Noble
B2. “What’s New?” (7:43) – Burke, Haggart
B3. “When Love Is New” (4:30) – Walton

Michael Cuscuna produced the December 1, 1983 session at Van Gelder Studio in Englewood Cliffs, New Jersey with engineer Rudy Van Gelder.

Legacy

As a player, Shaw expanded trumpet language through use of wide intervals, polytonality, and chromatic movement. His improvisations incorporated fourths and fifths, techniques drawn partly from modern classical composers such as Béla Bartók and Igor Stravinsky. He developed a precise articulation, strong vibrato, and consistent tone across fast passages.

Shaw balanced performance with education. He taught at Jamey Aebersold’s jazz camp in the 1970s and gave masterclasses internationally. His students included Wynton Marsalis, Terence Blanchard, and Chris Botti. He toured extensively in Europe, the Middle East, Africa, and India, presenting concerts and clinics. His work has remained in circulation through reissues, archival projects, and the efforts of his son, Woody Louis Armstrong Shaw III, who manages his catalog.

Discography:

Jazz Patterns (1970 • Joe Henderson and Woody Shaw)
Blackstone Legacy (1971)
Song of Songs (1972)
The Moontrane (1975)
Love Dance (1976)
Concert Ensemble at the Berliner Jazztage (1977)
Stepping Stones: Live at the Village Vanguard (1978)
Little Red’s Fantasy (1978)
Rosewood (1978)
Woody III (1979)
For Sure! (1980)
The Iron Men (1981 • Woody Shaw with Anthony Braxton)
United (1981)
Lotus Flower (1982)
Master of the Art (1982)
Night Music (1983)
In the Beginning [archival] (1983)
Double Take (1985 • Freddie Hubbard & Woody Shaw)
Setting Standards (1985)
Woody Shaw with the Tone Jansa Quartet (1985 • Tone Jansa Quartet & Woody Shaw)
Imagination (1987)
Solid (1987)
The Eternal Triangle (1988 • Freddie Hubbard & Woody Shaw)
In My Own Sweet Way (1989)
Dr. Chi (1989 • Tone Jansa Quartet & Woody Shaw)