One often returns to classic recordings with mixed feelings. On one hand, there's the anticipation of hearing great music, and on the other, trepidation that the recording has failed to hold up over time. By 1966 Wayne Shorter had entered one of his most creative periods, both as a solo artist and as a member of Miles Davis' second classic quintet. Besides his skills as a saxophonist, he also proved to be a prolific writer, penning five of Adam's Apple's seven pieces. It didn't hurt Shorter's musical vision to have pianist Herbie Hancock, bassist Reggie Workman, and drummer Joe Chambers onboard here, sensitive players who were attentive to the thin lines connecting these post-bop concoctions. Hancock's solo in Jimmy Rowles' "502 Blues (Drinkin' and Drivin')," for instance, skirts gently into another realm, offering a tender counterpoint to Shorter's more aggressive horn. The band quickly sets "El Gaucho"'s framework only to let each player wonder freely in the fashioned space, creating a beautifully layered effect. There's also an early version of "Footprints" that would show up on Miles Smiles the very same year (with both Shorter and Hancock onboard).