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Wayne Shorter’s latest dentist-office-music “jazz” album, High Life, almost made me forget how great a saxophonist he used to be. But reissues of Etcetera, The All Seeing Eye, and Schizophrenia, three Blue Note records from his most productive period, remind me why Shorter is one of jazz’s greatest composer-performers. Where High Life is anonymous, Etcetera brims with personality, defining the hard bop sound that helped make Blue Note the pre-eminent jazz label of the mid-’60s. It’s a surprise then that this June 14, 1965, performance, one of the most satisfying of Shorter’s many excellent dates, was not originally issued until 14 years after its recording. The title track features a showdown between Shorter and pianist Herbie Hancock: They size each other up, sparring like middleweights content to wear each other out rather than risk going for the knockout punch. Shorter’s terse tone delivers beautiful, forceful body blows, in dizzying contrast to Hancock’s intelligent, sharp jabs. Drummer Joe Chambers dances around the edges of the fray like a referee intent on keeping the battle brisk. But the ballad “Penelope” is a striking change of pace; Shorter caresses the notes, evoking the melancholy of the brokenhearted. (The composition is so memorable that the saxophonist reworked it in 1966 as a bossa nova, “El Gaucho,” for Adam’s Apple.) “Indian Song” highlights the dexterous, bulbous bass of Cecil McBee, and Gil Evans’ “Barracuda (General Assembly)” simmers for 11 incredible minutes. Etcetera is the real high life.