![]() ![]() JazzWax tracks: You'll find The Complete Joe Henderson Blue Note Studio Sessions (Mosaic) here. Joe Henderson died in 2001 at age 64 after a long battle with emphysema. ![]() The second reason for owing the box are Bob Blumenthal's liner notes, which are highly informative and fill in many blanks on Henderson and the recordings. Even if you already have these albums on CD or LP, the sound on this box is a cut above. Overall, we have Michael to thank on the producer side of the sound and Malcolm Addey for the rich, high-impact re-mastering. Listeners will love running their ear's hand over the curves with admiration. It sounds like the look of an expensive car's paint job. This is as close to being in the studio listening to the original masters as one can get." We went back to Rudy Van Gelder’s original analog tapes and made new transfers with the highest-possible bit rate and today’s best A to D converters.The sound far surpasses any earlier CDs, removing any trace of muddiness, and rivals the original LPs in warmth, range and sound. As Mosaic explains, " echoed something we did last year with our sold-out Hank Mobley set. For one, the sound is spectacular, capturing the warm round bark of Henderson's playing and letting all of the sidemen stand out with sonic distinction. The title notwithstanding, this box is terrific for several reasons. To his credit, Michael's choices are superb, especially as you listen to the box from start to finish as one large work. As Michael said to me in an email, after Mosaic scheduled Henderson's studio leadership releases, there was room for more music on the five CDs. It's really the Complete Joe Henderson Blue Note Leadership Sessions, Plus Other Important Stuff. ![]() In other words, this set isn't really Henderson's "complete" Blue Note output as a leader and sideman, since that would have been a significantly larger box at a much higher price. There also are tracks from Silver's The Cape Verdean Blues, Blue Mitchell's Step Lightly, Johnny Coles's Little Johnny C, Larry Young's Unity and Bobby Hutcherson's The Kicker. The set also includes material that producer Michael Cuscuna told me was important to include, such as Henderson's collaborative albums with Dorham- Una Mas (1963) and Trompeta Toccata (1965). This five-CD set features Henderson's five studio albums- Page One (1963), Our Thing (1964), In 'n Out (1965), Inner Urge (1966) and Mode for Joe (1966). First a word about the title, which is a bit misleading. You can hear all of this and more on the newly released box set from Mosaic- The Complete Joe Henderson Blue Note Studio Sessions. Henderson's musical personality fit right in without overlap, especially when playing hard bop with a boogaloo rhythm or bossa nova feel, which was the emerging Blue Note trend in the early 1960s. In the Blue Note stable, Hank Mobley was juicier, Shorter had more wail and Stanley Turrentine had more blues. Henderson's smokey sound and dashing agility were distinct. In New York, Dorham took him under his wing and showed him the ropes, eventually bringing him to the attention of Blue Note's Alfred Lion and Francis Wolff. While most other established Blue Note tenor saxophonists of the period were seasoned by session work in the 1950s, Henderson arrived on the scene in 1963, following his discharge from the Army. Īnd yet Henderson sounded distinctly original and modern. What made Henderson special was his dry tone and delivery, his polished bursts of fluid ideas and a feel that seemed most influenced by the airiness of Lester Young and taut delivery of Sonny Rollins. For example, he is a dominant soloist on Kenny Dorham's Una Mas, Lee Morgan's The Sidewinder, Horace Silver's Song for My Father, Herbie Hancock's The Prisoner and others. But most of those sideman sessions were just as significant, since Henderson was a powerful ingredient on anyone's recording date. In the 1960s, tenor saxophonist Joe Henderson recorded on close to 30 Blue Note albums, only five of which were under his name. ![]()
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