Joe Henderson

Joe Henderson is a tenor saxophone player who is also a composer, soprano saxophonist and flute player. He's one of the giants of modern bebop, and some of his recording credits have a veritable “Wow” factor, since he's right there in the lineup for some of the best-known contemporary jazz standards.

In the reading I have not been able to glean much concerning his personal life, but his life in jazz is rich and meaningful, and he has certainly made a tremendous contribution.

The jazz cognoscenti will no doubt wonder how I could possibly feature Joe before some of the  colossuses of the tenor saxophone:  Coleman Hawkins, Ben Webster, Lester Young, Sonny Rollins, and, of course, John Coltrane to name a few.  “A World of Jazz” is, however, in no particular order, and it just feels fine featuring someone who catches my fancy or who I happen to be listening to a lot at a particular time.

Let me pause to thank and acknowledge the very many jazz fans, young and old, who are out there in radioland in Belize and who give excellent encouragement to “Jazz Time.”  For instance, I remember Ms. Yvonne who I met while in line at the bank, and who expressed how much she enjoys the music and the information and trivia shared about the musicians, the context, etc.

Kudos to Salim, my jazz buddy, who almost always sits with me in the studio (it really is more fun listening with a friend) and who sits in for the program when I'm not able to be there.  And I must also acknowledge Jason Guerrero who does “Jazz Clef” on LOVE FM from 11pm to midnight on Sunday and Frankie Rhys who does “Jazz on a Sunday Morning” on KREM.

It would be remiss of me not to especially mention our “grand-daddy” and mentor Clifton “Dor” Hall, who, I can remember, did “Your Jazz Workshop” on Radio Belize way back when.  I am ashamed now to confess that as a young teenager I used to turn off  the radio when it came on!  I hope I've learned a little bit since then. Big respect, Dor.

Joe Henderson was born on April 24th, 1937 in Lima, Ohio.  He first came to prominence in the jazz world when he co-led a group with trumpeter Kenny Dorham in 1962 and 1963.  He was then with pianist Horace Silver from 1964 to 1966 before co-leading the Jazz Communicators with trumpeter Freddie Hubbard in 1967 and 1968.  He joined the Herbie Hancock group in 1969, and interestingly spent four months with Blood, Sweat and Tears in 1971.

He has led his own groups since the 1970s  and also became active in music education.  In 1985 he played with Herbie Hancock, Ron Carter(bass), and Tony Williams(drums) at a concert celebrating the re-launching of the Blue Note record label, and he has been as critics say “prolific” since then.

In describing and characterizing his playing the following quote from Richard Cook and Brian Morton is very appropriate.  I can't really say it any better : “Joe Henderson has become one of the survivng jazz icons.  He's a thematic player, working his way round the structure of a composition with melodic intensity, but he's a masterful “licks”  [melodic phrases] player too...This gives his best improvisations a balance of surprise, immediacy and coherence which few other saxophonists can match.  His lovely tone, which combines softness and plangency in a similar way, is another pleasing aspect of his music.”

Now to the music  -  after all this is what  it's about.

We have to start with the famous “Blue Bossa.”  This selection was actually composed by Kenny Dorham, but it is actually from “Page One,”  Joe's first album as a leader , which was recorded on June 3rd,1963.  Everybody loves “Blue Bossa,” and hence it is so frequently played by various musicians that it is part of the standard jazz repertoire.

After the statement of the melody by trumpet (Kenny) and (saxophone) Joe,  Kenny takes a trumpet solo.  Then Joe comes in with a brilliant solo which emphasizes the difference in tone between the horns (trumpet and saxophone.)  This is not to mention McCoy Tyner on piano, supported by Butch Warren on bass and Pete LaRoca on drums.  A superb piece is “Blue Bossa,” and it deserves repeated listening.

Joe also played on two outstanding records by other jazzmen :  Pianist Andrew Hill's “Point of Departure,”  which features some very “cerebral” playing by the group;  and Organist Larry Young's  “Unity.”

I choose the piece “Softly As In A Morning Sunrise” from the “Unity” date  -  November 10th,1965.  The quartet is completed by Woody Shaw on trumpet and Elvin Jones on drums.  I particularly like this selection for Joe's poignant soloing and improvisation.  His playing is never same-ish or cliche-like as the critics note, and his contribution makes the piece special.

I go now to “The Sidewinder,” another celebrated composition and standard.  The leader and composer here is trumpeter Lee Morgan.  Once more it's Joe on tenor sax, and all I can say is this one is a must.  Those who can now download individual selections through the internet should not miss “The Sidewinder.”

Which other famous piece features Joe's tenor sax?  Answer:  “Una Mas,” composed by Kenny Dorham.  The selection is 15 minutes and 15 seconds long, but it flies by with unforgettable solos by Kenny, Joe, and Herbie Hancock (here's Herbie again!) on piano.

Next are three superb albums by Joe from 1992, 1993 and 1995.  All are on the VERVE record label, and feature Joe when he has truly achieved the status of “Maestro.”

They are  “Lush Life -  The Music of Billy Strayhorn,”   “So Near, So Far (Musings For Miles),”  and  “Double Rainbow  -  The Music of Antonio Carlos Jobim.”   I'm happy to boast all three CDs in my collection.

There is plenty of outstanding music here.  However,  I choose just two pieces.  The saxophone solo  “Lush Life” is Joe at his most pensive and introspective.  For tenor sax lovers, I suggest you seek this one out. Hard to describe, but beautiful.

In 1993, shortly before recording “Double Rainbow” Joe made his first trip to Brazil. Here is what he said:  “I just don't know why I didn't get on a plane and go there 25 years ago.  Sometimes a person just has to do that.  I should have wanted to see the Girl from Ipanema before she became a grandmother!”  No matter!  The result of his Brazilian odyssey was this album, and my pick is, I think, “Felicidade.”   It is very melodic, with Joe doing full justice to Jobim's lyrical conception with his light but incisive touch.

I truly wish I could go on about this Joe – no ordinary Joe,  as I said.  And since the tenor sax  is probably the quintessential jazz instrument, all of his work is ESSENTIAL.  Anyway, bye for now,  and happy listening.

Author Dolores Balderamos-Garcia introduces "a WORLD of JAZZ", an evoking bi-monthly feature which discusses the wide - ranging elements and personalities that have made Jazz popular since the early 20th century.