![]() ![]() "Brown's Town" allows improvisation and bop to lead the way. "Serenity" is indeed serene and light but not as laid back or pensive as the title would suggest. Pianist Tyner is back for Henderson's third album as a leader, In 'N Out (1964). Several additional alternate takes wrap up the CD as nineteen of the twenty tracks on the first two discs run over five minutes, giving the musician time to explore, expand and experiment. There's an abundance of vibrant bop and more up-tempo excursions throughout. The quintet continued to play musical chairs with the piano seat: Herbie Hancock was on the Dorham-lead LP, McCoy Tyner was present for Henderson first album as a leader and then Andrew Hill took over. Recorded only a few months after Henderson's first album, Dorham returns with trumpet in hand as a symbiotic partner as they tag team back and forth. Henderson wrote the final four, including "Recorda Me." A subtle and easy-going number, the more experimental Henderson was still waiting in the wings.Ĭompact disc number two (of five) opens with a pair of alternate takes of cuts from disc one before they launch into Henderson's second Blue Note album as a leader, Our Thing (1964). Dorham even wrote the first two tracks, including "Blue Bossa," the subtle lead off. Page One (1963), is Henderson's debut album as a leader, with Dorham supporting Henderson this time around. Everyone swings, and they are upbeat on "Straight Ahead," one of the other standout tracks from the Dorham-lead sessions. He may be the second billed musician on the disc, but Henderson's sax is supple, lush and creatively enticing as a close bond was being forged between the two men. At over fifteen minutes, the opening track is a celebration of the then contemporary sounds of Bossa Nova, with hints of other styles including the blues. A book's worth of praise could follow, so let's look at a few tracks from each compact disc: Everything gets underway with the title cut from trumpeter Kenny Dorham's Una Mas (1963) album in which Henderson joins as a featured sideman. In addition, a modest yet informative booklet is included. Mosaic collected nearly fifty cuts on five CDs and captured a world of spontaneous creativity. But his constant companion, a lit cigarette, was absent, probably due to venue restriction (chain smoking eventually took him down in 2001.) Henderson was dapper and smartly dressed, low key, quiet and reserved. Verve championed him during that decade with a high profile 'come back' campaign and sessions such as Lush Life (1982) contained everything from the supple and smoky "Isfahan" and "Blood Count" to the soaring and spontaneous "Johnny Come Lately." Touring took him to various venues and in a talk backstage after a mid-1990s concert, Mr. The spotlight shifted a bit during the seventies and eighties for Henderson but he was amazingly prolific in the 1990s. He began to gain momentum in the 1960s (sitting in with saxophone master Dexter Gordon early on), learned from listening to other sax giants including Charlie Parker and Sonny Rollins and soon teamed up with numerous A-list artists including trumpeter Kenny Dorham, a Blue Note co-artist. He then moved confidently into the 1960s and beyond. Henderson began to come of age during the very late 1950s, the tail end of one of the most dynamic and creative decades for jazz. The 2021 reissue from the prestigious Mosaic Records focuses on Henderson's 1960s tenure with Blue Note offers a new opportunity to experience an abundance of rich and creative jazz from the decade.īig band and bop were duking it out in the late 1940s, bebop gained a foothold in the 1950s and the 1960s saw some amazingly creative artists emerge as they conjured up even more jazz hybrids (straight jazz, Avant-Garde, fusion and more). Tenor saxophonist Joe Henderson has traveled with all three and more. If an artist stamps his jazz passport with any one of these labels≻lue Note, Verve, Milestoneit's pretty much a guarantee that you've arrived in style. ![]()
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