Artist interviews, music reviews: Ink Blot Magazine

about

archives

contact

links

Joe Henderson : Lush Life - The Music of Billy Strayhorn

Listen To Real Audio
Joe Henderson,
"Lotus Blossom"

at a glance...

Hometown: Lima, OH
First Recordings: 1963

Sidemen:
Wynton Marsalis -trumpet
Stephen Scott -piano
Christian McBride -bass
Gregory Hutchinson -drums

Notes:
Tenor Joe Henderson was one of the leaders of post bop's second generation, young enough to have been influenced by players like John Coltrane and Sonny Rollins but old enough to make a vital contribution to 1960s post bop. He began playing along side Kenny Dorham and Horace Silver, and he went on to bands with Freddie Hubbard and Herbie Hancock. His Blue Note record Inner Urge (1964) was the first highlight in a rewarding and lengthy career. In the 1990s, he's received his due, thanks in part to his signing with Verve, but mostly because his style has broadened and matured with each passing year. Today, he remains one of jazz's foremost improvisers, a wily veteran who continues to develop.


Joe Henderson
Lush Life - The Music of Billy Strayhorn
Verve, Recorded 1992

Even in the contrived, packaging-oriented world of 1990s major-label jazz, a master work of lasting impact is produced now and then. Verve threw Henderson in the studio with a pack of young lions and asked him to play a collection of Billy Strayhorn songs. Henderson and crew emerged with a beautiful recording that showcased Henderson's versatile tenor, the passion of the younger players, and the emotional appeal of Strayhorn's compositions. Some of the songs are standards of the Ellington book while others are more obscure.

A large part of the success is owed to the strategy of mixing up the instrumentation: The album includes one solo, three duets, two trios, one quartet, and three quintets, each leading Henderson in a different direction. The quintet plays it straight as Wynton Marsalis adds his polished, mainstream trumpet. "Johnny Come Lately" swings especially hard as Henderson shows the post-bop fluency first developed in Horace Silver's band and Christian McBride contributes an intriguing arco bass solo. However, the true highlights emerge from the pared-down ensembles. "Isfahan," a duo with Henderson and McBride taken from Duke Ellington's Far East Suite, finds Henderson coaxing some lovely, light-and-airy sounds from his tenor, perhaps as an homage to Duke's legendary alto Johnny Hodges. On "Rain Check," a trio with McBride and drummer Greg Hutchinson, Henderson flies into the stratosphere with probing statements, and on "Lotus Blossom," a duet with pianist Stephen Scott, Henderson's quiet flurries support Scott's elegant reading. Henderson stokes the engine with intense, far-reaching ideas on "Take the "A" Train," a duet with Hutchinson, and teases the melody playfully on the abstract solo title track.

Henderson proves he can be delicate and melodic (as on the quartet's "Blood Count") or crafty and punchy (as on the drummerless trio's "Drawing Room Blues"). Henderson's "rediscovery" by Verve might be an expedient commercial pursuit for the label or a genuine attempt at showcasing an underrated saxophone veteran. Either way, Henderson clearly takes advantage of the opportunity.

If you like Joe Henderson, check out:
Duke Ellington The Far East Suite
Christian McBride Gettin' To It
Joe Henderson The State of the Tenor

psst...you might wanna check out our bebop abode for more features on bebop artists.

-- Marc Greilsamer

Ink Blot Home
about | archives | contact | links


join our free newsletter!

Copyright © 1997-2002 Ink Blot Magazine. All rights reserved.