This version of the Joe Hen classic is done at a slightly slower tempo and therefore sits in a deep groove. Check out Joe’s quote of “Misty” in the beginning of his solo, and how he makes the notes fit exactly where the changes are going. This rendition of the standard is so swinging it hurts. Kenny Barron’s piano solo is also something very special. Joe’s solo again moves fluidly between the changes and the dance created by the rhythm section. The substitutions amaze me every time I listen. This arrangement is harmonically incredible. The rhythm section lays down silky support that is subtle yet has lots of motion. Joe effortlessly navigates the harmonic terrain while painting a soulful and deeply expressive picture-the sort of improvisation I strive for when playing trumpet. The tender handling of this classic balled is one for the ages. Joe Henderson Inner Urge (Blue Note, 1965) What more can be said about this masterpiece that has not already been said? Joe’s solo soars above the unbelievable fire created by Ron Carter, McCoy Tyner and Elvin Jones, and seems to enter, peak and end all with perfect timing. McCoy Tyner The Real McCoy (Blue Note, 1967) Louis Hayes has this dance going on between snare and ride cymbal that is relentless. Kenny Barron’s piano intro is signature, and his comping throughout propels all the soloists forward.
#Power to the people joe henderson how to
I use Joe’s solo to teach my students how to take a single phrase and develop it. This is a masterpiece of thematic development. Joe Henderson The Kicker (Milestone, 1967) They trade 6’s on the blues, which is also unusual. Joe’s use of space, tension and rhythmic displacement is masterful. The sound of Jack DeJohnette’s ride cymbal is a sound I have tried to fold into my own. Herbie Hancock’s comping is so conversant. The interaction, extension of the form by all and way Ron Carter plays the quarter note is truly remarkable. This is perhaps my all-time favorite recording of the blues. Joe Henderson Power to the People (Milestone, 1969) His recordings continue to inspire and provide a beacon of excellence to work toward with my own music. As my musical IQ has increased over the years so has my love for Joe Hen. I first heard Joe when I was around 19, and I didn’t really like him because I couldn’t hear him yet. Ten recordings are hardly enough to properly identify all the important contributions made by one of the most original voices on the tenor saxophone. Ralph Peterson at 2010 Cape May Jazz Festival
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