1.    "In 'N Out" - 10:23
2.    "Punjab" - 9:07
3.    "Serenity" - 6:16
4.   "Short Story" (Dorham) - 7:10
5.    "Brown's Town" (Dorham) - 6:23
6.    "In 'N Out" [Alternate Take] - 9:15

Joe Henderson — tenor saxophone
Kenny Dorham — trumpet
McCoy Tyner — piano
Richard Davis — bass
Elvin Jones — drums

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, Rovi

Music Matters is extending its reissue run of classic Blue Note records, which has led them to tenor saxophonist Joe Henderson's 1964 session In 'N Out. His third album as a leader for the label, In 'N Out mixes aggressive hard bop with more searching ballads on its way to turning into a musically diverse, first-rate performance.

The rhythm section of the opening title track has John Coltrane written all over it, and with drummer Elvin Jones and pianist McCoy Tyner in the rhythm section, it's no wonder. The double melody of Henderson and trumpeter Kenny Dorham flies over Tyner's signature foundation block chords before Henderson quickly moves into an aggressive and lengthy solo. Notably, although the rhythm section framework is very Coltrane-esque, Henderson's solo is not. It's hot and powerful, but it stays in the horn's middle range and feels more rooted in deliberate construction than emotional outburst. Jones is propulsive under the leader's statement, pounding harder and more complex figures as Henderson's solo builds, chasing him into a peak moment where it's hard to tell whose solo it really is.

The tone changes immediately as they move into "Punjab," a mid-tempo complex but pretty melody. Henderson's solo is more restrained here but he still captures the more dissonant elements of the melody. Tyner's comping is structured more around chord changes and less around reinforcing the rhythmic throb, creating a completely different backdrop. Dorham's trumpet has an uplifting delivery-emotive, positive and rich with brass texture.

"Short Story," one of Dorham's compositions, is a good place to discuss the sonic value of the Music Matters vinyl reissues. All of the records in this series are remastered from original master tapes with the singular goal of reproducing every bit of sound captured in the original session fifty years ago. They're pressed onto two 45RPM LPs to deliver the best possible analog playback. The track opens with Richard Davis' bass line layered over a Latin beat before Tyner adds a purely modal chord structure behind it all. It's that bass line where the remastering really pays off. The CD has bass notes on it, but the Music Matters vinyl has a double bass fiddle-woody, plump and palpable. Jones' kit sounds dynamic, with varied timbres on the toms as he fills in the pauses. The piano gains appreciably in weight and dynamics, particularly with big left- handed bass chords, and is nicely placed in the back of the soundstage. It's almost possible to hear the spit in Dorham's trumpet. It's those details that make the difference here, and they're revelatory.

These old Blue Note records are classics, comprising music that every serious jazz fan should hear, and the Music Matters vinyl pressings help jazz fans to hear more of that music. In 'N Out is another great title in a terrific reissue series that's focused on bringing the best of jazz's most creative period back into full aural view. ---Gregg Simmons, allaboutjazz.com

download (mp3 @192 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

1.	Soulution
2.	My Cherrie Amour
3.	Gazele
4.	Black Mirakle
5.	Immaculate Deception
6.	Old Slippers

Joe Henderson – tenor saxophone
Dawilli Gonga – piano, keyboards
Lee Ritenour  - guitar (1,3,6)
George Bohanon – trombone
Don Waldrop – bass trombone, tuba
Snooky Young, Oscar Brashear – trumpet
Hadley Caliman – flute, tenor saxophone
Ron Carter – bass
Harvey Mason – drums
Bill Summers – percussion, congas

Although the album title still evokes an Afrocentricity that defined Joe Henderson's career -- especially his Milestone recordings of the '70s -- as the last of that string, Black Miracle was a decidedly softer album with enough pop elements to make it (dare it be said) "easy listening" for a wide range of jazz heads. From the lush big-band horn section of "Gazelle" to the midtempo Stevie Wonder cover "My Cherie Amour" with George Duke on keyboard and the steady shake of Bill Summers' percussion, this album rarely provokes. Alas, it was his last studio album of a grand decade, even if many critics and enthusiasts refuse to acknowledge the import of Henderson's Milestone years, and here Henderson appeared to finally succumb to pop pandering, albeit not as egregiously as some of his peers. Nothing exhibited this more than the album's closer, "Old Slippers," with Harvey Mason's drums and Dawilli Gonga's clavinet in full-bore fusion syrup, and the preceding "Immaculate Deception," which sounded like it came out of Freddie Hubbard's poppish CTI catalog. Lee Ritenour's guitar always felt too corny for a Henderson record. Henderson was a little more than ten years from his career renaissance, but even in a less than stellar swan song he found time to drop one last gem, the breakbeat and hip-hop sample-ready "Solution," featuring Joe in the crease. Throughout the '70s, that's where he was most comfortable. ---Vincent Thomas, Rovi

download (mp3 @224 kbs):

uploaded yandex 4shared mega solidfiles zalivalka cloudmailru filecloudio oboom

back

1.	Tres Palabras
2.	Las Palmas
3.	Canyon Lady
4.	All Things Considered

Francisco Aguabella - Congas
Oscar Brashear 	- Trumpet
Nicholas Ten Broeck - Trombone
Hadley Caliman - Flute, Sax (Tenor)
Vince Denham - Flute
George Duke - Bass, Drums, Percussion, Piano, Piano (Electric)
Carmelo Garcia - Timbales
Luis Gasca - Bass, Conductor, Drums, Flugelhorn, Percussion, Piano, Trumpet
Eric Kamau Grávátt - Drums
John Heart - Bass
Joe Henderson - Composer, Remixing, Sax (Tenor)
John Hunt - Trumpet
Mark Levine - Composer, Piano
Victor Pantoja - Congas
Ray Pizzi - Flute
Julian Priester - Trombone

This album has trumpeter Luis Gasca featured as a co-star with tenor-saxophonist Joe Henderson. Gasca arranged "Tres Palabras" which is played by a 13-piece group (Oscar Brashear takes the trumpet solo) while the other three originals (two by pianist Mark Levine) use either a sextet or a nonet. Henderson is in fine form on these spirited Latinish performances which have also been included on his eight-CD Milestone box set. ---Scott Yanow, Rovi

download (mp3 @320 kbs):

uploaded yandex 4shared mega solidfiles zalivalka cloudmailru filecloudio oboom

back

 	Suite 1
1	 	Felicidade (4:45)
2	 	Dreamer (Vivo Sonhando) (5:24)
3	 	Boto (6:35)
4	 	Ligia (4:31)
5	 	Once I Loved (Amor Em Paz) (5:25)
 	Suite 2
6	 	Triste (5:29)
7	 	Photograph (5:02)
8	 	Portrait In Black And White (A.K.A. Zingaro) (5:18)
9	 	No More Blues (Chega De Saudade) (6:41)
10	 	Happy Madness (3:13)
11	 	Passarim (5:40)
12	 	Modinha (4:32)

Artists:
Joe Henderson – tenor sax
Oscar Castro-Neves – guitar, percussion
Eliane Elias – piano
Herbie Hancock – piano
Nico Assumpção – bass
Christian McBride – bass
Paulinho Braga – drums
Jack DeJohnette – drums

The third of tenor-saxophonist Joe Henderson's tribute CDs on Verve was originally supposed to be a collaboration with the great bossa nova composer Antonio Carlos Jobim but Jobim's unexpected death turned this project into a memorial. Henderson performs a dozen of the composer's works with one of two separate groups: a Brazilian quartet starring pianist Eliane Elias and a jazz trio with pianist Herbie Hancock, bassist Christian McBride and drummer Jack DeJohnette. In general, Henderson avoids Jobim's best-known songs in favor of some of his more obscure (but equally rewarding) melodies and in some cases (such as a very straight-ahead "No More Blues") the treatments are surprising. Highlights of this very accessible yet unpredictable CD include "Felicidade," "Triste," "Zingaro" and a duet with guitarist Oscar Castro-Neves on "Once I Loved," although all of the performances are quite enjoyable. Highly recommended. --- Scott Yanow, Rovi

download (mp3 @320 kbs):

uploaded yandex 4shared mega solidfiles zalivalka cloudmailru filecloudio oboom ifolder

back

1.	Mirror Mirror
2.	Candlelight
3.	Keystone
4.	Joe’s Bolero
5.	What’s New ?
6.	Blues For Liebestraum

Ron Carter - Bass
Chick Corea - Piano
Joe Henderson 	- Sax (Tenor)
Billy Higgins - Drums

Tenor saxophonist Joe Henderson has had a remarkably consistent career. Although he has spent periods (such as the 1970s) in relative obscurity and others as almost a jazz superstar, Henderson's style and sound has been relatively unchanged since the 1960s. This lesser-known album finds Henderson in typically fine form in an acoustic quartet with pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins. Carter and Corea contribute two songs apiece, Henderson gets to perform his "Joe's Bolero" and the tenor sounds majestic on "What's New." ---Scott Yanow, Rovi

download (mp3 @320 kbs):

uploaded yandex 4shared mega solidfiles zalivalka cloudmailru filecloudio oboom

back

1. Sunrise In Tokyo
2. So What
3. Get Magic Again

Musicians:
Joe Henderson - tenor saxophone
Terumasa Hino - trumpet
Kousuke Mine - alto and soprano saxophones
Masabumi Kikuchi - piano, electric piano
Yoshio Suzuki - bass
Hiroshi Murakami, Yoshiyuki Nakamura – drums

"Tokyo Toshi Center Hall"
Tokyo, Japan
August 5, 1971

The 1970s through into the early 1980s were a pretty bleak time for acoustic jazz, to the extent that many musicians were obliged to explore other directions - such as fusion - or leave the field entirely. One of the few places where interest remained high was, of course, Japan, and surprisingly many of the acoustic recordings from this period (both live and studio) were either recorded in Japan or produced for the Japanese market. In the case of Herbie Hancock, for example - to cite the case of but one artist - `The Piano', `Trio '77', the V.S.O.P. recordings, `Quartet', and so on and so forth.

`Sunrise in Tokyo' makes an interesting companion piece to the better known `Joe Henderson in Japan'. The latter was recorded on August 4th 1971, and involves a quartet in a club setting. `Sunrise' was recorded the following night in a concert hall environment and involves a different line-up playing different material; only Henderson himself is common to both. He is supported, in both cases, by top Japanese artists. On `Sunrise' these include Terumasa Hino (trumpet), Kosuke Mine (alto and soprano saxes), Masabumi Kikuchi (piano and e-piano), Yoshio Suzuki (bass), and Hiroshi Murakami and Yoshiyuki Nakamura (drums). Hino and Kikuchi are widely known on the international scene, the others rather less so.

There are just three tracks - `Sunrise in Tokyo' (by Henderson himself), `So What' (by Miles Davis), and `Get Magic Again' (by Kikuchi). The playing, both comping and soloing, is crisp and up to the moment throughout. Mine, for those who have never heard him, is sounding and playing very like Cannonball Adderley here. This in itself adds a note of interest - I have never heard Cannonball playing `So What' at such a fast tempo, and here Mine gives us a glimpse of how he might well have done so (!). Hino is dependably brilliant, Kikuchi in a more reflective mood. The rhythm section as a whole provide terrific pace and texture from beginning to end.

It is in the final track, however, that the Japanese artists really come into their own. From the very moment of his entry, for example, Hino's playing is utterly distinctive - much more so than in the preceding two pieces. Perhaps they were more familiar with the material; perhaps it's more representative of where they were coming from and where they were at, so to speak, back in those days. As composition goes, `Get Magic Again' is fairly loose and open-ended, providing both soloists and part players with considerable freedom to stretch their muscles and explore the various directions it opens up.

Henderson himself plays magnificently (as ever), and his leadership is characterised by a certain generosity toward his sidemen, giving them as he does ample opportunity to showcase their talents both as soloists and, in the case of Kikuchi, as composer.

The albums that Joe Henderson recorded for Blue Note back in the '60s were produced at a time when Jazz was arguably at its most creative. Each one brims with the qualities that have come to define Jazz - the technical brilliance, the seemingly effortless invention, the sense that new ground is being covered with each and every session etc. - and remains fresh and exhilarating even after repeated listening. For many, these are the substantial achievements that define what the man was and what he did.

`Sunrise in Tokyo', which was made just a few years later, when Henderson was still only thirty-four, is something much more fragile and transitory - a snapshot of a jobbing musician on the road during much more uncertain times. I can find little evidence to suggest that he played with these particular musicians on a regular basis, let alone that they constituted a working band. Even if they did, it seems highly likely that this is their sole recorded legacy. And, I have to say, the music they made on this particular evening is just pure pleasure. --- Giles Morgan, amazon.com

download:   4shared yandex mediafire

back