What jazz music are you listening to?

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Joe Henderson - Page One
Qobuz 24/192




Another album from the fantastic catalogue of Blue Note.

Recorded June 3, '63.

Joe Henderson – tenor saxophone
Kenny Dorham – trumpet
McCoy Tyner – piano
Butch Warren – bass
Pete La Roca – drums

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Joe Henderson - Our Thing
via Qobuz




Discovering a bit more of the Henderson catalogue.
Good album!

Joe Henderson's second recording as a leader features a very strong supporting cast: trumpeter Kenny Dorham (one of Henderson's earliest supporters), pianist Andrew Hill, bassist Eddie Khan, and drummer Pete La Roca. Together they perform three Dorham and two Henderson originals, advanced music that was open to the influence of the avant-garde while remaining in the hard bop idiom. The up-tempo blues "Teeter Totter" contrasts with the four minor-toned pieces and, even if none of these songs became standards, the playing is consistently brilliant and unpredictable. Even at this relatively early stage, Joe Henderson showed his potential as a great tenorman. ~ Scott Yanow

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Joe Henderson - In 'N Out
via Qobuz




Another great album.
The rhythm section sounds of course very familiar if you love Coltrane's albums from that time.

Joe Henderson's third Blue Note release matches the very distinctive tenor with the veteran trumpeter Kenny Dorham and an unbeatable rhythm section: pianist McCoy Tyner, bassist Richard Davis, and drummer Elvin Jones. Henderson always had the ability to make a routine bop piece sound complex and the most complicated free improvisation seem logical. ~ Scott Yanow

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Joe Henderson - Inner Urge
via Qobuz



It is again Elvin Jones together with McCoy Tyner who give this album the typical drive that Coltrane's albums also had.

The Penguin Guide gave this 4 stars (out of 4).

Recorded Nov 30, '64

Joe Henderson – tenor saxophone
McCoy Tyner – piano
Bob Cranshaw – bass
Elvin Jones – drums

This early recording by Joe Henderson is not only one of the finest of all of his recordings, but is also a high point for 1960s jazz. At this point in his career, Henderson was a full-time member of Horace Silver's combo and did not yet have a steady band in his hire. He is joined on Inner Urge by veterans of other combos: McCoy Tyner and Elvin Jones from John Coltrane's unit and Sonny Rollins sideman Bob Cranshaw. The presence of these luminaries aside, Inner Urge is home to two of Henderson's best (and best-loved) compositions: "Inner Urge" and "Isotope." The leader's solo on the title track is a marvelous thing, full of melody as well as anarchic bursts of sound, which is in perfect keeping with the spirit of the song's probing, searching theme. The other musicians support Henderson nicely as well as turning in some strong solos of their own. Tyner especially sounds fantastic on this record. Although not the equal of the leader in terms of the quality of his lines or the overall sense of composition of his solos, his performance is at least the rival of Henderson's in terms of raw kinetic power. The other great song on "Inner Urge," the Monk-ish "Isotope," is another ideal showcase for Henderson's total command of his instrument. The remaining tracks on Inner Urge are also fantastic, especially the wailing cry of "El Barrio" and the Henderson-altered head to "Night and Day," but the first side, even if taken alone, is by itself enough to guarantee this album as perhaps the best Henderson recorded in his long and illustrious career, and stands easily alongside the best records of the era. ~ Daniel Gioffre

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Joe Henderson - Mode For Joe
Qobuz 24/96




I knew Henderson as a brilliant sideman on various excellent albums.
Somehow, his albums as a leader stayed under my radar.
I'm very happy that I can discover them now.
They're all very, very good!

Recorded Jan. 27, '66.

Joe Henderson – tenor saxophone
Lee Morgan – trumpet
Curtis Fuller – trombone
Bobby Hutcherson – vibes
Cedar Walton – piano
Ron Carter – bass
Joe Chambers – drums

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Joe Henderson Sextet - The Kicker
via Qobuz




Henderson's first album as a leader after his Blue Note period.
While still very good, it doesn't equal his former records.

Recorded Aug 10, '67.

Joe Henderson - tenor saxophone
Mike Lawrence - trumpet (omit on track 7)
Grachan Moncur III - trombone (omit on track 7)
Kenny Barron - piano
Ron Carter - bass
Louis Hayes - drums

Joe Henderson's first recording for Milestone was very much a continuation of the adventurous acoustic music he had recorded previously for Blue Note. For those listeners who do not wish to invest in the tenor saxophonist's "complete" eight-CD Milestone box set, this single-CD is a good place to start in investigating his middle period music. Henderson is featured in a sextet with trumpeter Mike Lawrence, trombonist Grachan Moncur III, pianist Kenny Barron, bassist Ron Carter and drummer Louis Hayes on a well-rounded set highlighted by "Mamacita," "Chelsea Bridge," "If," "Without a Song" and "Nardis." ~ Scott Yanow

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Live in Paris
Diana Krall
Still her best IMHO Excellent live recording!
Universal Records HDCD XCD0228
Regards,
Jim

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New release.
Dangerously close to muzak.
Too close.

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Carla Bley
Andy Sheppard
Steve Swallow - Life Goes On
Qobuz 24/96




Wonderful new release.
The interplay is magical.
Carla is almost 82 now, but really going strong!


A sage piano stylist audibly influenced by Basie and Monk among others, Carla Bley has over the past 60 years also become one of jazz's preeminent composers. Originally influenced by '60s jazz avant-garde, Bley, as evidenced by her latest, Life Goes On, has fashioned her own jazz ethos—what ECM's Manfred Eicher has called her "radical originality." In jazz groups of any size longevity is often impossible as the essence of the music is often dependent on the potential of new combinations of talent, and yet a large part of Bley's recent success is keyed by her working trio of bassist/life partner Steve Swallow and saxophonist Andy Sheppard, who've been together for 25 years.

Based around three suites—her most preferred form of composition—the lean and spacious Life Goes On is wonderfully confident and distinct. The opening movement of the title track is sly blues before turning to two parts that explore her trademark melodic mingling of classical music discipline and free jazz adventure. It concludes with "And Then One Day," where Bley holds down the rhythm with a repeated figure, over which Sheppard plays jaunty lines that have more than a whiff of Paul Desmond's cool tone. "Beautiful Telephones," based upon the current chief executive's comment about the Oval Office's exceptional phones, begins with Bley downshifting emotionally and exploring a more somber mood with Swallow plucking out his notes and Sheppard's tenor saxophone providing an equally unsettling counterpoint. In this work's final movement, the tempos pick up and her characteristic humor comes to the fore as she wryly quotes "The Battle Hymn of the Republic," "The Star-Spangled Banner," "America the Beautiful," and other patriotic hymns in a modern echo of her '70s composition, "Spangled Banner Minor and Other Patriotic Songs." The final suite, "Copycat" explores the hallowed jazz device of call-and-response as a conversation between three supremely accomplished players, whose clairvoyant togetherness shifts between agreeable and discordant. While it's right to applaud the current rush of praise for the fresh energies that youth are bringing to music these days, the deep wisdom and impeccable craft of a pioneer like Bley deserves to be equally acclaimed. © Robert Baird / Qobuz

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Interesting collection from TBM. I own "Midnight Sugar" and "Misty" by Tsuyoshi Yamamoto, and love it.

https://audiophilestyle.com/ca/bits-...of-music-r880/