In 2017, Wayne Shorter was artist-in-residence at the Detroit Jazz Festival. He was scheduled to perform three times during the weekend: Once with his longstanding quartet -- pianist Danilo Perez, drummer Brian Blade, and bassist John Patitucci -- the second was the quartet performance documented here. The third set was to be a live performance of Emanon, the score for his graphic novel with an orchestra; it was cancelled due to inclement weather. This group comprised bassist/vocalist Esperanza Spalding, drummer Teri Lyne Carrington, and pianist Leo Genovese (he replaced Detroit pianist Geri Allen, who died in June). The group met that day to rehearse a few themes, but no more. Live at the Detroit Jazz Festival showcases a band carrying on an eventful, musically advanced conversation. Opener "Someplace Called 'Where'" was composed by Shorter. Spalding, and Genovese, and Carrington's ride cymbal introduces it haltingly. Shorter's tenor enters at 1:30 and the band begins framing his questioning notes. Spalding starts singing at two minutes. Her long, open notes in the lyric flower within the quartet's accompaniment. and emerge, slowly yet fully formed as a clarion call to explore. Solos by Genovese and Shorter are reaching and resonant. Carrington's dancing rhythms anchor, push, and underscore their unconventional harmonic invention. More than 21 minutes long, "Endangered Species," was co-composed by Shorter and Spalding (they later collaborated on the staged opera Iphigenia). It emerges subtly: Soprano sax punctuates the chordal statements by Genovese and the percussive vamping of Spalding with Carrington's stretched beats melding post-bop and funky breaks. At five minutes, soprano sax and piano deliver a forceful call-and-response modal interaction. The music strips to a hush halfway through as Spalding's voice offers solace and assurance with crystalline accuracy while elastically shifting pitches. A glorious reading of Milton Nascimento's "Encontros e Despedidas" follows (Shorter cut 1975's Native Dancer in collaboration with him). Spalding is exceptional with the Portuguese lyric, allowing her voice freedom amid Carrington's shifting polyrhythms as Shorter's tenor offers an alternate lyricism framed by Genovese's cascading arpeggios and lush chords. Allen's "Drummer's Song" commences with Afro-Latin drumming and Genovese's syncopated chord voicings. Spalding's bass enters halfway into a circular vamp that the pianist transforms into mutant salsa as Shorter's soprano punctuates with sweeping, jagged lines in an intoxicating, swirling dance. The saxophonist's "Midnight in Carlotta's Hair" is the set closer. The empathic union of singer and soprano horn reaches deep into Shorter's complex, canny lyricism. Carrington and Genovese add depth, color, dimension, and constant fluid motion. The band gels as Shorter solos before the quartet reunites in a gradual fade. This group's individual and collective abilities reflect a more seasoned quartet. Live at the Detroit Jazz Festival is a compelling exercise in kinetic, deeply emotional music making (mostly) in the moment . Given Shorter's retirement from performing (he is 89 with health issues) this amounts to a gift as well as a historical document. [The LP configuration contains a bonus track containing conversation among the quartet members.] ~ Thom Jurek