Joe Henderson

Infobox musical artist
Name = Joe Henderson


Img_capt = Joe Henderson with Neil Swainson
Img_size =
Landscape =yes
Background = non_vocal_instrumentalist
Born = birth date|1937|4|24
Died = death date and age|2001|6|30|1937|4|24
Origin = Lima, Ohio, U.S.
Genre = Soul-jazz
Mainstream jazz
Hard bop
Post-bop
Jazz fusion
Years_active = 1960 – 1997
Label = Milestone
Verve
Associated_acts = Blood, Sweat & Tears
Return to Forever
URL =
Notable_instruments = tenor saxophone

Joe Henderson (April 24, 1937 - June 30, 2001) was an American jazz tenor saxophonist. Born in Lima, Ohio, he studied music at Kentucky State College and Wayne State University before playing in Detroit at the beginning of his career.

Biography

From a very large family with five sisters and nine brothers, [Mel Martin [http://www.melmartin.com/html_pages/Interviews/henderson.html Interview with Joe Henderson] published in "The Saxophone Journal", March/April 1991. Retrieved on 24 April 2007.] Henderson was encouraged by his parents and an older brother James T. to study music. Early musical interests included drums, piano, saxophone and composition. He was particularly enamored of his brother's record collection. He listened to Lester Young, Flip Phillips, Stan Getz, Lee Konitz, Charlie Parker and Jazz at the Philharmonic recordings. By eighteen, Henderson was active on the Detroit jazz scene of the mid-'50s, playing in jam sessions with visiting New York stars. The diverse musical opportunities prompted Joe to learn flute and bass, as well as further developing his saxophone and compositional skills. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Classmates Yusef Lateef, Barry Harris and Donald Byrd undoubtedly provided additional inspiration.

After a two year spell in the U.S. Army (1960-1962), Henderson moved to New York where trumpeter Kenny Dorham provided valuable guidance for him. He also earned his first, and biggest, hit in 1962 with "Snap Your Fingers", which reached #8 pop and #5 easy listening. Although Henderson's earliest recordings were marked by a strong hard-bop influence, his playing encompassed not only the bebop tradition, but R&B, Latin and avant-garde as well. He soon joined Horace Silver's band and provided a seminal solo on the jukebox hit "Song for My Father". After leaving Silver's band in 1966, Henderson resumed freelancing and also co-led a big band with Kenny Dorham. His arrangements for the band went unrecorded until the release of "Joe Henderson Big Band" (Verve) in 1996.

From 1963 to 1968 Joe appeared on nearly thirty albums for Blue Note. The recordings ranged from relatively conservative hard-bop sessions to more avant-garde explorations. He played a prominent role in many landmark albums: most of Horace Silver's swinging and soulful "Song For My Father", Herbie Hancock's dark and densely orchestrated "The Prisoner", and Andrew Hill’s avant-garde albums "Black Fire" and "Point of Departure." In 1967, there was a notable, but brief, association with Miles Davis's famous quintet featuring Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams. Although the band was never recorded, Henderson is reputed to have occasionally stolen the show. Henderson's adaptability and eclecticism would become even more apparent in the years to follow.

Signing with Orrin Keepnews's fledgling Milestone label in 1967 marked a new phase in Henderson’s career. He co-led the Jazz Communicators with Freddie Hubbard from 1967-1968. Henderson was also featured on Hancock's "Fat Albert Rotunda". It was during this time that Henderson began to experiment with increasingly avant-garde structures, jazz-funk fusion, studio overdubbing, and other electronic effects. Song and album titles like "Power To the People", "In Pursuit of Blackness", and "Black Narcissus" reflected his growing political awareness and social consciousness, although the last album was named after the Powell and Pressburger film of 1947.

After a brief association with Blood, Sweat & Tears in 1971, Henderson moved to San Francisco and added teaching to his résumé. He continued to record and perform as always, but seemed to be taken for granted by jazz audiences.

Though he occasionally worked with Echoes of an Era, the Griffith Park Band and Chick Corea, Joe remained primarily a leader throughout the 1980s. An accomplished and prolific composer, he began to focus more on reinterpreting standards and his own earlier compositions. Blue Note attempted to position Joe at the forefront of a resurgent jazz scene in 1986 with the release of the two-volume "State of the Tenor". The album featured the most notable tenor trio since Sonny Rollins's in 1957 (including Ron Carter on bass and Al Foster on drums) and established his basic repertoire for the next seven or eight years, with "Ask Me Now" becoming a signature ballad feature.

Blue Note's attempt to relaunch Henderson's career, though, went flat. It was only after the release of "An Evening with Joe Henderson", a live trio set (featuring Charlie Haden and Al Foster) for the Italian independent label Red Records that Henderson underwent a major career change: Verve took notice of him and in the early 1990s signed him. That label's 'songbook' approach to recording him, coupled with a considerable marketing and publicity campaign, more successfully positioned Henderson at the forefront of the contemporary jazz scene. In one interview, he expressed his surprise in suddenly having to employ a financial adviser where for years he had only been worrying about how to pay the bills.

tyle

Henderson's sound can float prettily like Stan Getz or Lester Young, but he can also dig in with the bluesy fervor of T-Bone Walker or the intensity of John Coltrane. In a March 1993 "Down Beat" interview Henderson noted the influence of literature in his playing: "I try to create ideas in a musical way the same as writers try to create images with words. I use the mechanics of writing in playing solos. I use quotations, commas, and semicolons." The increasing complexity and ornamental nature of his later output suggests Henderson had created his own unique vocabulary of phrases, licks, and saxophone effects.

Henderson used a Selmer Soloist D mouthpiece on his tenor sax, fitted with a La Voz Medium Soft reed.

Discography

Leader

*"Page One" (Blue Note 1963)
*"Our Thing" (Blue Note 1963)
*"In 'n Out" (Blue Note 1964)
*"Inner Urge" (Blue Note 1964)
*"Mode for Joe" (Blue Note 1966)
*"The Kicker" (Milestone 1967)
*"Tetragon" (Milestone 1967)
*"Four" (Verve 1968)
*"Straight, No Chaser" (Verve 1968)
*"Power to the People" (Milestone 1969)
*"Joe Henderson in Japan" (Milestone 1971)
*"The Elements" (Milestone 1973)
*"Canyon Lady" (Milestone 1973)
*"Multiple" (Milestone 1973)
*"Relaxin' at Camarillo", (Contemporary 1979)
*"The State of the Tenor Live at the Village Vanguard" (Blue Note 1985)
*"SKYDANCE : Joe Henderson w/ Jon Ballantyne Trio :", (Justin Time 1989)
*"" (Verve 1992)
*"So Near, So Far (Musings for Miles)", (Verve 1992)
*"Double Rainbow: The Music of Antonio Carlos Jobim", (Verve 1994)

ideman

*1963: Andrew Hill - "Black Fire"
*1963: Grant Green - "Am I Blue"
*1964: Lee Morgan - "The Sidewinder"
*1964: Andrew Hill - "Black Fire"
*1965: Pete La Roca - "Basra"
*1966: Nat Adderley - "Sayin Somethin"'
*1967: McCoy Tyner - "The Real McCoy"
*1969: Herbie Hancock - "The Prisoner"
*1970: Freddie Hubbard - "Straight Life"
*1970: Alice Coltrane - "Ptah, the El Daoud"
*1971: Blue Mitchell - "Vital Blue"
*1972: Miroslav Vitouš - "Mountain In The Clouds"
*1974: Ron Carter - "All Blues"
*1974: Johnny Hammond - Higher Ground"
*1974: Charles Earland - "Leaving This Planet"
*1974: Patrice Rushen - "Prelusion"
*1976: Coke Escovedo - "Comin' At Ya!"
*1976: Roy Ayers - "Daddy Bug & Friends"
*1977: Flora Purim - "Encounter"
*1978: Freddie Hubbard - "Super Blue"

References

External links

* [http://home.ica.net/~blooms/hendersonhome.html The Joe Henderson Discography]