Joe Henderson - The Red Records Albums

 Joe Fest rolls on!

This pair of Red Records releases find Henderson in a format in which, in my view, he excelled above all others...the straight tenor trio with merely a bass and drums. Sure, Sonny Rollins was the pioneer in this format and his tenor trio recordings are important landmarks in Jazz, but, for me, no one has ever been so engaging, so fluent and endlessly creative as Joe.

On the first live album with Haden and Foster you are treated to two of the most eloquent small group conversationalists in history - - Charlie and Joe seem to know everything the other will say in advance - - pure magic!

This one is a studio date, still with Al Foster who also excels in this format, but Charlie is replaced by another profoundly eloquent bassist in Rufus Reid. The delightful program features a host of tunes that are Joe Henderson standards, i.e. tunes most of us already connect with Joe or were actually written by him.

Once again, magical stuff not to be missed!

Hank Crawford - From The Heart (1962) [vinyl>flac]

Warm and laidback soul jazz from the great Hank Crawford – cut in a relaxed mode that makes the set feel like some of the late nite smokers on the Prestige label at the time! Hank's alto work is perfectly placed on the set, and he's working with fellow Ray Charles bandmember David Fathead Newman on tenor – plus John Hunt and Phil Guilbeau on trumpets, and Leroy Cooper on baritone sax – plus guitar from Sonny Forrest on two tracks. Titles include "The Peeper", "Sherri", "Sweet Cakes", "Don't Cry Baby", "What Will I Tell My Heart", and "But On The Other Hand". © Dusty Groove, Inc.

Recorded in 1962 with most of the same band that made Soul Clinic, Hank Crawford turns in a simmering, deep soul performance that draws in equal parts from Ray Charles' R&B, James Moody's blues and Duke Ellington's swing. Accompanied by Texas tenor giant David "Fathead" Newman, baritone saxophonist Leroy Cooper, trumpeters John Hunt and Phil Guilbeau, bassist Edgar Willis and drummer Bruno Carr (with Sonny Forrest on guitar on three tracks), Crawford follows the soul-blues Muse into the night on this set. His four originals, including "Stoney Lonesome," "The Peeper" and "Sherri," are high points, so are his readings of Percy Mayfield's classic "But on the Other Hand," and Charles' "Baby Let Me Hold Your Hand." The bookends on the set are the Unger-Bernie-Johnson blues finger-popper "Don't Cry Baby" and the elegant, melancholy ballad "What Will I Tell My Heart." From the Heart features Crawford digging deep into the Memphis tradition for expression. His own playing is exceptional as is that of Newman. These solos are as notable for their restraint in the service of melody as they are for their depth of expression. This is an early highpoint for Crawford. ~ by Thom Jurek, AMG.

Atlantic Records, SD 1387, 1962

Recorded 8^th November, 1961 - 16^th May, 1962

Personnel:

Hank Crawford - Alto Saxophone

David "Fathead" Newman - Tenor Saxophone

Leroy Cooper - Baritone Saxophone

Philip Guilbeau - Trumpet [Solo #B3]

John Hunt - Trumpet

Sonny Forrest - Guitar (#A1,A5,B1)

Edgar Willis - Bass

Bruno Carr - Drums

Track Listing:

A1. Don't Cry Baby {Stellar Unger, Saul Bernie, James P. Johnson} (4:21)

A2. Sweet Cakes {Hank Crawford} (3:38)

A3. You've Changed {Bill Carey, Carey Fischer} (3:18)

A4. Baby Let Me Hold Your Hand {Ray Charles} (3:52)

A5. Sherri {Hank Crawford} (4:37)

B1. The Peeper {Hank Crawford} (3:08)

B2. But On The Other Hand {Percy Mayfield} (5:02)

B3. Stoney Lonesome {Hank Crawford} (5:42)

B4. What Will I Tell My Heart {Peter Tinturin, Jack Lawrence, Irving Gordon} (5:09)

Credits:

Producer, Supervisor - Nesuhi Ertegun

Audio Engineer - Tom Dowd, Phil Lehle

Cover Design - Loring Eutemey

Cover Photo - Jim Marshall

Liner Notes - Leo Davis

Bud Shank - That Old Feeling (1986) [vinyl>flac]

I rather like the review I've used below but one thing struck me listening to this that Sheridan doesn't mention. In his West Coast heyday the similarity between Shank and Art Pepper was often remarked. Shank acknowledged Pepper as a major influence and at times sounded uncannily like him. Both musicians disappeared from the jazz scene in the latter part of the 60s, Pepper to deal with the consequences of his drug addiction, Shank for the lucrative security of the film and recording studios. Both returned in the 70s. This album was cut a few years after Pepper's passing and cut with Pepper's preferred pianist in his later years. Yet there is now no way that I could confuse the two. In the 50s they shared a similar tone, a sound, but by the late 70s they had moved apart. Sheridan uses the phrases 'a little more grit' and 'impassioned playing' to describe Shank's approach and indeed it is possible to discern more 'attack' more 'adventure' here, but I feel that Pepper had moved far further from his mid-fifties playing, there's a ferocious intensity, even on ballads, and a feeling for the blues that Shank never displays. Don't get me wrong I love the playing of both musicians throughout their respective careers, but I'd be interested in your opinions.

Review by Chris Sheridan, Jazz Journal, May 1987:
Bud Shank was always a highly effective alto soloist in the old West Coast days, as performances like East Of The Sun, with Howard Rumsey's Lighthouse All-Starts testify. However, his post-studio renaissance has seen a little grit added to the harmony, a bit of the crie de coeur that makes the difference between pleasantries and something more profound.
Here, his impassioned playing meshes vigorously with a robust rhythm trio to produce music of immense involvement, strong melody and varied emotional content. From the wiry opening bars of Benny Golson's usually wistful Whisper Not, this is clearly music that reaches out for attention — nor is the Shank way with a ballad any the more passive these days, as Cabin In The Sky readily testifies. Other highlights include the Monkishly puckish El Wacko, the bounding treatment of Sonny Rollins' No Moe and his unhackneyed way with As Time Goes By.
This is Shank's second album for Contemporary in 14 months and his third winner since splitting with the more wispy approach of the LA4. It should go a long way towards restoring his reputation as a pungent soloist with something worthwhile to say.

1. Whisper Not
2. Dream Dancing
3. Cabin In The Sky
4. El Wacko
5. No Moe
6. I've ToldEv'ry Little Star
7. As Time Goes By
8. That Old Feeling

Shank (as); George Cables (p); John Heard (b); Albert Heath (d).
Berkeley, California, February 17-18, 1986.
(Contemporary 14019)

Al Cohn/ Billy Mitchell - Xanadu In Africa (1980) [vinyl>flac,24bit]

A rip was available on the Xanadu blog but this is taken from my newly acquired near mint LP and includes full scans.

Review by Scott Yanow:
Despite the exotic location, this LP contains a typical Xanadu high-quality bebop date. The quintet (tenors Al Cohn and Billy Mitchell, pianist Dolo Coker, bassist Leroy Vinnegar and drummer Frank Butler) performs five standards (including long versions of "All or Nothing at All" and "Robbins Nest") in Senegal (this may very well be the first live recording of American jazz musicians in Africa) and the crowd is rightfully enthusiastic. Even if the music contains few surprises, this album is easily recommended to bop collectors although it may be difficult to find.

01 All or Nothing at All
02 Robbins Nest
03 I Surrender Dear
04 Blues in the Closet
05 Easy Living

Al Cohn, Billy Mitchell (ts) Dolo Coker (p) Leroy Vinnegar (b) Frank Butler (d)
Dakar, Senegal. March 14, 1980

Joe Henderson - A Pair with Chick

Joe-fest continues!

From 1963 to 1968 Henderson's output as a leader was all Blue Note; from 1968 to 1978 it was all Milestone. All of that material is and has been pretty readily available, but in 1978 it appears that Joe's Milestone contract expired and he began to show up on some of the independent labels for one-off (or two in the cases of Enja and Red) dates that are all strong records.

The Enja sessions are a bit too far 'out' for my tastes, but these two are real gems! Both the Contemporary and MPS sessions are in monster quartets featuring Chick Corea on piano.

These two aren't quite as hard to get as they once were, but still not exactly 'mainstream' issues for all fans. The rips are both in flac w/ scans.

Ray Bryant - The Ray Bryant Touch (1967) [vinyl>flac]

Here’s another classic LP by Ray Bryant on the rare and elusive Cadet label. As usual Ray’s piano playing is simply marvellous as is the backing by his crack rhythm section; being Jimmy Rowser on bass and Rudy Collins on Drums. This album comprises of recordings taken from a live gig at Memory Lane L.A. All the excitement and showmanship of the trio is well and truly on display here. Four of the seven tunes are penned by Bryant; the others match with Soul Jazz appeal. In the end you wish you could have been there to share in the exuberance. Enjoy!

Simple stuff - but very nice! Ray's working here in a live trio setting - ala Ramsey Lewis or Les McCann from the same time - and his work on the album has a similar gutbuckety soul feel to it. The rhythm section of Jimmy Rowser bass and Rudy Collins drums is very tight - and the best cuts kick along with a heavy groove that's a lot more than you'd expect from the setting. Titles include "Little Suzie", "Takin My Ease", "City Tribal Dance", and "Prayer Song". © Dusty Groove, Inc.

Cadet Records, LPS 793, 1967

Recorded 19^th & 20^th May, 1967 Live at Memory Lane, Los Angeles, California

Personnel:

Ray Bryant - Piano

Jimmy Rowser - Bass

Rudy Collins - Drums

Track Listing:

A1. Little Suzie {Ray Bryant} (5:00)

A2. Is All I Ask {Gordon Jenkins} (5:34)

A3. City Tribal Dance {Ray Bryant} (2:27)

A4. Prayer Song This {Ray Bryant} (4:09)

B1. You Keep Me Hangin' On {Lamont Dozier, Brian Holland, Eddie Holland} (5:14)

B2. Talkin' My Ease {Ray Bryant} (5:19)

B3. And I Love Her {John Lennon, Paul McCartney} (7:31)

Credits:

Producer - Esmond Edwards

Engineer - Wally Heider

Design [Cover] - Jerry Griffith

Photography [Cover] - Don S. Bornstein

Liner Notes - Jack Springer (WCHB & WCHD, Detroit)

Notes:

Released as LP on Bellaphon/Chess 4019 (Germany, 1967)

and LP on Baybridge ULS-6113-BC (Japan, 1983)

Joe Henderson In Japan (1971)

And for anyone not familiar with this...

From the Penguin Guide to Jazz:
We can give an unequivocal welcome to the reissue of In Japan, an old favourite from the vinyl era. Never mind that the in-concert sound (recorded at Tokyo's Junk Club!) is no better than documentary quality - this is hard, vital Henderson. He opens 'Round Midnight' with a typically severe cadenza, and the three longish tracks which follow have as much ot the band as they do of him. This was a difficult period for players of Henderson's gifts, but he clearly received hosan-nas when he went to Japan, and the trio play above themselves in splendid support.

1. 'Round Midnight
2. Black Narcissus (Out 'N' In)
3. Blue Bossa
4. Junk Blues

Joe Henderson (ts) Hideo Ichikawa (el-p) Kunimitsu Inaba (b) Motohiko Hino (d)
"Junk Club", Tokyo, Japan, August 4, 1971
(Original issue Milestone MSP 90

Joe Henderson - Sunrise In Tokyo

Joe-fest continues! Most of you will be familiar with the Milestone album 'Joe Henderson in Japan' which was recorded at the Junk Club in August of 1971. That performance is often hailed as one of THE premier saxophone performances of the 70's; required listening for any student of the tenor sax. What is decidedly less well known is that the following night he performed at Tokyo Toshi Center Hall with a sextet of Japan's young lions including Terumasa Hino and Masabumi Kikuchi. That show too was recorded and first released on a Japanese Fontana LP. More recently it has been reissued on this Jazz Door cd.

The performance opens with an infectious Henderson composition 'Sunrise in Tokyo' featuring some sparkling solos from Henderson, Hino and Kikuchi. Listen to how tight and cohesive the band sounds; it is hard to believe this could be their first time playing this piece. Perhaps Henderson had sent them the piece ahead of his arrival (?), because I don't recall any previously released version that they could have learned from.

The second piece played is Miles Davis' 'So What'. It is taken at such a breakneck pace that at first I was a bit put off by it, but as the players dug into their solos, I quickly forgot all about that. The final tune is a Kukuchi composition 'Get Magic Again'. It straddles  modal and free jazz in a way that Henderson always excelled at in my book. For whatever the reason, I have always had a much easier time with Henderson's free explorations than I do most any other player. Terumasa Hino also shines brightly on this piece, as do the composer and bassist Yoshio Suzuki.

The visit to Japan must have been very exciting for Joe. Jazz wasn't receiving much love in the USA in 1971, but in Japan he was hailed as a modern giant of the tenor and the knowledgeable fans there flocked to see him, while the cream of Japan's musicians were lining up for the opportunity to play with him. He responded with some of the most inspired playing of his life.

Donald Byrd (with Joe Henderson) ~ Getting Down To Business (1999) [vinyl>flac]

Review by Scott Yanow

Trumpeter Donald Byrd's second jazz album during his comeback after years of playing R&B/funk and then totally neglecting his horn finds him starting to regain his former form. The strong supporting cast (altoist Kenny Garrett, tenor saxophonist Joe Henderson, pianist Donald Brown, bassist Peter Washington and drummer Al Foster) sometimes overshadows the leader on this CD but the music overall (modern hard bop) is rewarding. The sextet performs originals by Byrd, Henderson, Donald Brown, Bobby Hutcherson, James Williams and Duke Ellington ("I Got It Bad").

1. Theme for Malcolm
2. That's All There Is to Love
3. Pomponio
4. Certain Attitude
5. Onliest
6. Around the Corner
7. I Got It Bad (And That Ain't Good)

Donald Byrd (t, flh) Kenny Garrett (as) Joe Henderson (ts) Donald Brown (p) Peter Washington (b) Al Foster (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, October 10 & 12, 1989

Donald Byrd [w Joe Henderson] - A City Called Heaven (1991)

This, the third of Byrd's Landmark recordings, was to be his final studio release. As far as I know he only made one other recording before his death in 2013, one track on a 1995 Ahmad Jamal album.

Review by Derek Ansell, Jazz Journal, July 1992:
This is a fairly straight ahead jazz album by Dr Donaldson Toussaint L'Ouverture Byrd II who, understandably, prefers to be called Donald Byrd. King Arthur, Complete with back beat and Blues March type theme, is dedicated to Art Blakey and although no doubt sincerely meant, does not quite work. Only Art himself, behind the drums, could work magic with this type of thing. A City Called Heaven is a bit ponderous and both vocalist and musicians sound rather strained and self-conscious at times.
The rest is magic. I’ll Always Remember is a plaintive ballad with Byrd's muted trumpet warm and winsome and Hutcherson and Henderson in fine form. Byrd's bright, billowing tone and inventive lines are heard to good effect on Lu Easy Anna and Byrd Song, the latter much more effectively in a Jazz Messengers vein.
Remember Me is adapted from Dido & Aeneas—not jazz, but if you love Purcell's music as much as I do you won't complain. Lorice Stevens' vibrant voice carries the melody aided by Hutcherson and the continue part is shared by Brown and Reid with the bass sounding like a baroque cello. Half way through there is a jazz flavour as Byrd and Hendsrson contribute bluesy horn lines. Surprisingly, it works.
Not Necessarily The Blues is the blues, in free time; an experiment with symmetry and geometric shapes according to the leader in his liner notes.
This is an engaging, varied and highly original programme, and apart from the reservations expressed above it offers a rich musical experience.

1. King Arthur
2. I'll Always Remember
3. A City Called Heaven
4. Back Down In Lu Easy Anna
5. Byrd Song
6. Del Valle
7. Remember Me
8. Not Necessarily The Blues

Donald Byrd (t, flh) Joe Henderson (ts) Bobby Hutcherson (vb) Donald Brown (p) Rufus Reid (b)
Carl Allen (d) Lorice Stevens (voc -3,7)
Berkeley, CA, January 17-19, 1991

Valery Ponomarev - Profile (w/ Joe Henderson)

 This post is numba 2 in my little Joe-Fest, but it also links to grumpy's post through Valery Ponomarev.

"This is a dream date for Russian hard bop trumpeter Valery Ponomarev that should keep fans of the hard bop style of jazz wide awake. Many listeners may simply regard Profile as part of the Joe Henderson body of water, not a bad thing at all in that this superb tenor player is Ponomarev's main foil and will constantly reward listeners' attention with neat turns of phrase, solid energy, and a tone that would still seem hearty even if surrounded by loaves of Russian bread and bowls of steaming soup. The program is an even mix of standard selections and the trumpeter's original compositions, which the band digs into with the type of appetite that might have been stimulated by the previous sentence. There's Cole Porter's "I Concentrate on You," a classic as well as a description of this fine rhythm section's attitude toward the soloists; a Harold Arlen number; and Bud Powell's "Time." The latter may seem on paper to be the alarm clock for pianist Kenny Barron, who has established a reputation for his masterly touch with the repertoire of jazz keyboard masters. The truth is that Barron is in fine form throughout, as is Ponomarev. "I Was Afraid You'd Never Call Me" kicks off the album, the title perhaps a reflection on the career of this often-overlooked but never under-swinging trumpeter and composer. If this early-'90s session sounds exactly like an old Blue Note or Prestige session, it isn't just because of the players' style; engineer Rudy Van Gelder was in the booth, doing his usual beautiful thing." Eugene Chadbourne

Art Blakey & The Jazz Messengers - Reflections In Blue (1978) [vinyl>flac]

Reposted from old crypt.

I've tended to overlook Blakey's post 60s recordings, easy to do given the astonising body of work previously recorded for Blue Note. In comparison, his 70s recordings are few and far between, this was a
period when Jazz seemed to be in decline. The Penguin Guide to Jazz describes this '77 band as 'workmanlike' rather than 'inspired', fair enough but workmanlike Blakey is better than most. I'm just grateful that my recent discovery of Schnitter's Muse recordings has led me back to these Timeless Blakeys.

Dusty Groove:
“Key proof that Art Blakey was still going strong in the late 70s – continuing his 60s legacy of working with the best young players he could find, in a setting that was bristling with sweet soul jazz energy! This version of The Jazz Messengers includes some tremendous players – including a young Bobby Watson on alto, the great David Schnitter on tenor, James Williams on piano, and Valery Ponomarev on trumpet – all grooving with Art in a style that steps nicely from the soulful Prestige Records years, when Blakey was leading the group with Woody Shaw and Carter Jefferson. Tracks are nearly all originals – loping and grooving with a soulful finish that's really wonderful, showing off equal parts of writing from nearly all corners of the group. The album's awash in soulful joy and love, and titles include "Reflections In Blue", "ETA", "Mishima", "Say Dr J", and "Stretching".”

01. Reflections In Blue
02. E. T. A.
03. Say Dr. "J"
04. Mishima
05. Ballad Medley: My Foolish Heart, My One and Only Love, Chelsea Bridge, In a Sentimental Mood
06. Stretching

Valen Ponomarev (t); Robert Watson (as); David Schnitter (ts); Dennis Irwin (b); James Williams (p); Art Blakey (d)
Fendel Sound Studio, Loenen, Holland, December 4, 1978

Neil Swainson - 49th Parallel (with Woody Shaw & Joe Henderson)

"Bassist Neil Swainson is known more as an accompanist (most notably with George Shearing) than as a bandleader, and this was his first opportunity to head his own recording date. Swainson was able to secure the services of both trumpeter Woody Shaw (on his final studio session just two years before his death) and tenor saxophonist Joe Henderson, in addition to a couple of Toronto-based musicians: pianist Gary Williamson and drummer Jerry Fuller. Swainson, who has long had impressive technique and a beautiful tone, performs five of his originals, plus Henderson's "Homestretch." Overall, this is an underrated, high-quality advanced hard bop date worth exploring."  Scott Yanow

A very good session made all the more important in historical context because it is our last studio session for Woody and now Joe is gone as well. I'm starting a little Joe Henderson fest, some lesser known examples of his art. I invite the guys to join in - I imagine we can all find some gems.

That's The Way I Feel Now - A Tribute To Thelonious Monk (vinyl rip)

"Two years after the death of pianist-composer Thelonious Monk, this very unusual and quite memorable double-LP tribute was put together. Producer Hal Willner's most successful project, the 23 interpretations of Monk originals all feature a different group of all-star players and stretch beyond jazz. Some of the performances are fairly straightforward while others are quite eccentric; certainly the crazy duet on "Four in One" by altoist Gary Windo and Todd Rundgren (on synthesizers and drum machines) and the version of "Shuffle Boil" featuring John Zorn on game calls (imitating the sound of ducks) are quite unique. There are many colorful moments throughout the project and the roster of musicians is remarkable: Bobby McFerrin with Bob Dorough, Peter Frampton, Joe Jackson, Steve Lacy, Dr. John, Gil Evans, Randy Weston, Roswell Rudd, Eugene Chadbourne and Shockabilly, the Fowler Brothers, NRBQ, Steve Khan, Carla Bley, Barry Harris, Was (Not Was) and many others. There is not a slow moment or uninteresting selection on this highly recommended set."