Kevin Hays - El Matador (1990)

Kevin Hays recorded this early session (his second as a leader) in 1990, at the age of 22. Originally released in 1991 on the Jazz City import label, the disc was reissued in the U.S. in 1998 by Evidence. The young pianist is joined by alto/soprano saxophonist Steve Wilson, bassist Scott Colley, drummer Bill Stewart, and on four tracks, the tenor titan Joe Henderson. Hays' writing and playing are remarkably advanced, particularly on "Emperor Leon" (dedicated to drummer Leon Parker) and "The Brahmin's Son," an extended piece inspired by Herman Hesse. Quartet renderings of "The Good Life" and John Coltrane's "Like Sonny" also appear, along with a full quintet arrangement of Hindemith's "Nobilissima Visione," on which Henderson truly shines. Steve Wilson's angular blues-head "No Such Luck" closes the set. El Matador is a vital addition to Hays' discography, even after the fact. ~ by David R. Adler, AMG. 

Jazz City, PCCY-00247, 1991
Evidence Records, ECD 22199-2, 1998
Recorded August, 1990 At “The Studio”, New York City 

Musicians:
Kevin Hays - Piano
Steve Wilson - Alto Saxophone, Soprano Saxophone
Joe Henderson - Tenor Saxophone {#1,2,5,6)
Scott Colley - Bass
Bill Stewart - Drums 

Tracks:
1. El Matador {Kevin Hays} (8:02)
2. Emperor Leon {Kevin Hays} (10:28)
3. Like Sonny {John Coltrane} (6:46)
4. The Good Life {Sacha Distel, Jack Reardon} (6:56)
5. The Brahmin's Son {Kevin Hays} (10:54)
6. Nobilissima Visione {Paul Hindemith} (6:16)
7. Snake Eyes {Kevin Hays} (7:53)
8. No Such Luck {Steve Wilson} (5:26) 

Total Time: 62:41 

Credits:
Producer - Tony Ariga, Yoshiaki Masuo
Engineer - David Baker
Photography - Alan Nahigian
Liner Notes - Ira Gitler
Reissue Producer - Jerry Gordon

Richard Davis - Fancy Free & Way Out West (1977) [vinyl>flac]

Review by Scott Yanow

Recorded with the same musicians and during the same two days as the Galaxy release Fancy Free, this LP covers a wide area. Bassist Richard Davis is heard in an unaccompanied solo on the brief "A Peace for Richard," on a duet with tenor saxophonist Joe Henderson for "On the Trail" (one of the session's highpoints), heading a trio with pianist Stanley Cowell and drummer Billy Cobham on "I'm Old Fashioned" and otherwise playing with a quintet that also includes Henderson, Cowell (who doubles on a dated sounding electric piano), Cobham and trumpeter Eddie Henderson; three songs have vocals by the obscure Dolly Hirota. Ranging from straightahead to some funky pop, this is an interesting if not essential release from the masterful bassist.

01 - A Peace For Richard
02 - Elephant Boy
03 - Do A Dog A Favor
04 - On The Trail
05 - I'm Old Fashioned
06 - Sienna Waiting For The Moment
07 - Warm Canto
08 - Song Of Gratitude
09 - Don't Worry Bout A Thing

Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977

Another Galaxy that doesn't seem to have made it to CD

Extract from review by Chris Sheridan, Jazz Journal, November, 1978
“Professor Davis … what an impressive bassist he is… listen to the way he shadows and jostles Cowell on Nardis, giving the performance tremendous lift. It shows that he has no betters, only peers. Here he has brought together a brawny quintet, including three men who are better-established within the Fusion Music scene. Eddie Henderson came to the fore with Herbie Hancock, but shows here that he is capable of more profound things. Joe's talents have been submerged beneath mountains of wattage on recent Milestone releases, but here he plays with a lighter and more inventive touch. Cobham is, perhaps, a little fidgety, but after so much rock that is only to be expected. Hirota sounds like a cross between Diana Ross and Rose Murphy.”

Review by Scott Yanow
"It seems odd that this Galaxy LP was recorded at the same time as Way Out West for the rival Muse label. Bassist Richard Davis teams up with trumpeter Eddie Henderson, tenor saxophonist Joe Henderson, keyboardist Stanley Cowell and drummer Billy Cobham for five selections that are highlighted by "Silver's Serenade," "Nardis" and a rare cover version of Donald Byrd's "Fancy Free"; singer Dolly Hirota is featured on "I Still Love You, Baby." Overall this is the stronger of the sets recorded during the two-day period in 1977, an advanced and mostly straightahead effort."

1. The Wine Of May
2. Silver's Serenade
3. Emily
4. Nardis
5. I Still Love You, Baby
6. Fancy Free

Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo -5) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977

RON CARTER - PARADE - 1979 - VINYL - FLAC

1979
Milestone 9088
My Vinyl Rip
DR Value 14
Front & Back Covers
FLAC (8) 357mb

Bassist Carter heads a sterling mid-sized band with three trumpeters and saxophonists and two trombones. He handles the job of being both the primary and secondary rhythm support, while guests Joe Henderson, Jon Faddis, and Frank Wess, among others, provide some standout solos. The ensemble interaction clicks as well....AllMusic Review by Ron Wynn

The Tracks:
A1 Parade / A2 A Theme In 3 Quarter / A3 Sometimes I Feel Like A Motherless Child
B1 Tinderbox / B2 Gypsy / B3 G.J.T.

Blue Mitchell - Vital Blue [new 24/48 vinyl rip]

This one is for grumpy....I find it a little curious that at the time I posted my first rip of this album it was nowhere to be found on the internet, but now it is offered in mp3 form in multiple places. Hmmm - Oh Well, here is a new and final rip in 24/48 flac, sampled down from the original 24/96 wave subsequent to cleaning through Isotope RX.
 
"One of the rarest Blue Mitchell albums for Mainstream – and one of the most beautiful! Unlike the other sessions, most of which are electric funk outings, this one has a more spiritual side, and the kind of soulful approach you'd expect from Strata East. The group features Ernie Watts on tenor, Joe Henderson on flute, and tenor, Walter Bishop on piano, and Susaye Greene singing wordless vocals on a few cuts. Highlights include the odd "Unseen Sounds", which has some great weird flute work from Henderson, plus "Booty Shakin", "Vital Blue", and "Herman's Helmet". Dusty Groove

Art Farmer with Joe Henderson - Yama (1979) [vinyl>flac, 24-bit/48khz]

Many critics have looked upon the majority of CTI recordings as a ploy to commercialise jazz, Scott Yanow being no exception. However, when approached again with newer ears and less prejudice, Creed Taylor has certainly left a legacy of some very fine albums. This album in particular finds Art Farmer playing beautifully alongside Joe Henderson’s solid tenor; producing some very powerful Jazz-Funk/Fusion interpretations. It is an LP which I have relished for many a year. Ripped to FLAC at 24-bit/48khz I hope you also will find it just as fascinating and enjoyable.

Trumpeter Art Farmer has recorded six albums in his name for the CTI label whose enigmatic "Guanabara" with Brazilian singer Ithamara Koorax, which was never published. It is also found on the album of Bob James' BJ4 "and that of Yusef Lateef" Autophysiopsychic ". His lyrical breath, his balanced phrasing, his game while retaining, at times reminiscent of Chet Baker. Throughout his career, he faced several music styles without losing his soul or his talent, as demonstrated by this recording from 1979 with a funky rhythm section. As usual, he plays in a duo orchestra. We remember the wonderful "Big Blues" with Jim Hall recorded a year earlier. But this time, the saxophonist Joe Henderson, another jazz legend, who shares the bill. His quick game lets out moments of incredible sweetness. The texture of his sound is unique in these moments. Despite the presence of excellent classmates (Steve Gadd, Will Lee, David Spinozza, John Tropea ...), the result is rather mixed. Vibraphonist Mike Maineri, in control for the first time, seems to fail creating a real osmosis between all these musicians.  ~ ctifanblog.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope. A decent but largely forgettable effort. ~ by Scott Yanow, AMG.

CTI Records, CTI 9000, 1979

Recorded and Mixed April 1979 at Power Station Studios, New York

Personnel:

Art Farmer - Flugelhorn

Joe Henderson - Tenor Saxophone

Don Grolnick, Warren Bernhardt, Fred Hersch - Keyboards

Mike Mainieri - Synthesizer, Vibraphone, Arranger

David Spinozza, John Tropea - Guitar

Eddie Gomez - Bass

Will Lee - Electric-Bass

Steve Gadd - Drums

Sammy Figueroa - Percussion

Suzanne Cianni - Synthesizer Programming

Track Listing:

A1. Dulzura {Clare Fischer} (8:21)

A2. Stop [I Think Again] {Barry, Robin & Maurice Gibb} (4:08)

A3. Young And Fine {Joseph Zawinul} (6:26)

B1. Lotus Blossom {Don Grolnick} (6:43)

B2. Blue Montreux {Mike Mainieri} (7:12)

Credits:

Producer - Creed Taylor

Associate Producer, Arranger - Mike Maineri

Engineer - Neil Dorfsman

Mastering - Rudy Van Gelder

Cover Illustration - Susannah Kelly

Cover Design & Photography [inside] - Alen MacWeeney

Design - Neal Pozner

Calligraphy - Bernard Maisner

Joe Henderson - Punjab (1986) [mp3/flac]

I don't usually post anything here that I haven't ripped myself and I don't usually post mp3s, but an exception, on the off-chance that this is new to KC! An oddity - Joe with an all female rhythm section.

Date: November 27, 1986
Location: Unknown {according to the CD release Bradley's, San Francisco]
Label: Arco

Joe Henderson (ts), Renee Rosnes (p), Marlene Rosenberg (b), Sylvia Cuenca (d)

a. Punjab - 12:26 (Joe Henderson)
b. Homestretch - 12:25 (Joe Henderson)
c. Blue Waltz - 12:10 (Marlene Rosenberg)
d. Friday the Thirteenth - 05:22 (Thelonious Monk)
All titles on: - Arco CD: ARC104 - Punjab

According to Rosnes, this album was not recorded at Bradley's, but rather is a bootleg of a performance in Europe.

I've never been able to find a copy of the CD, many thanks to deGallo for providing a genuine lossless version {link in comments, although you'll need to download the mp3 for scans]

Mal Waldron w/ Joe Henderson - One Entrance, Many Exits

 I think this is about it for Joe Fest, at least for me - if I think of anything else I'll be sure to post it; meanwhile this is one beautiful album that seems to be overlooked in the torrent of albums Mal made in the last couple decades he was with us. Some have raised issues with the sound mix, but Yanow liked it!

"It is a pity that this album is long out-of-print for the combination of musicians works quite well. Pianist Mal Waldron has an inside/outside post bop style that matches perfectly with tenor-saxophonist Joe Henderson, bassist David Friesen and drummer Billy Higgins. On five Waldron originals plus the standard "How Deep Is The Ocean," Henderson and the pianist are heard soloing in top form. Highlgihts include "Chazz Jazz" (dedicated to Charles Mingus), "Golden Golson" (which is purposely in the style of Benny Golson) and an ad-lib blues for the trio "Blues In 4 By 3." Scott Yanow

Joe Henderson Quartet - Ljubljana (Yugoslavia) 1979

Joe Henderson Quartet
Ljubljana (Yugoslavia)
Krizanke
June 15, 1979, mp3

Joe Henderson ts
Mal Waldron p
Wayne Darling b
Doug Hammond dr

1) 09:18 Inner Urge
2) 08:41 Recorda Me
3) 10:43 Invitation
4) 11:02 And I Love Her (Mediterranean Sun)
5) 07:07 Relaxin´ At Camarillo

Joe Fest - Muse Recordings

Joe Fest continues:
Really an interesting album that borrows some fusion sounds but stays pretty much in a post bop mode that suits Henderson quite well. Sasajima is an interesting and textural guitarist (that and occasional synth are what make me mention fusion) who does not overplay likes so many in the seventies and eighties. While some of the electronics here are a little dated, this is overall a very enjoyable album that Joe Henderson fans need to have. 

There was an American cd issue of this album that included 2 extra tracks -- I only have that one in mp3 form (anyone have it lossless?), but this is the Japanese CD edition with 5 tracks.

This rip comes from a private project a few years back and was contributed by by slantsignature.

Cindy Blackman's debut as a leader finds the talented drummer showing a great deal of confidence and holding her own with her illustrious sidemen: trumpeter Wallace Roney, either altoist Kenny Garrett or (on two songs) tenor saxophonist Joe Henderson, pianist Larry Willis, and Buster Williams or Clarence Seay on bass. The music (which includes an unaccompanied drum solo by Blackman on "Incindyary") is modern hard bop, and all of the musicians play up to par in their concise solos; Blackman, Willis, Williams and Henderson ("Teeter Totter") provided all of the songs. A strong start to Cindy Blackman's productive recording career.


Personnel: Cindy Blackman (drums), Kenny Garrett (alto saxophone), Joe Henderson (tenor saxophone), Wallace Roney (trumpet), Larry Willis (piano), Buster Williams (acoustic bass), Clarence Seay.

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!

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.

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

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.

Horace Silver - Live 1964 & The Natives Are Restless

Well Grumpy's post of a Silveto album got me looking back through the archives and it has been quite some time since I dragged these gold nuggets out of my stash bag. For me, the discovery of these albums was some kind of jazz wet dream. One of my personal fave periods with monsters everywhere and all captured really well and live....GASP!

All the old guard here at the Crypt will already have these of course, but maybe some new friend will have the same kind of knee buckling experience that WE had back we first heard this stuff. The view into what it was like to hear these wonderful bands in the club is like a magical Way-Back Machine opportunity not to missed!