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| Joe Henderson |
30-06-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1970-1959 # Joe Henderson, Bobby Hutcherson, Big John Patton, Larry Young, Grant Green, John Coltrane, Kenny Burrell / Jimmy Smith, Dexter Gordon, Paul Chambers, The Joe Newman Quintet, The Curtis Fuller Sextette, Charlie Byrd Trio & Woodwinds
J A Z Z M U S I C
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1970-1959
Joe Henderson
Black Narcissus (Joe Henderson)
Isotope (Joe Henderson)
from Power to the People 1970
This album (which has been included in Joe Henderson's complete, eight-CD Milestone Years box set) has quite a few classic moments. At that point in time, tenor saxophonist Henderson was a sideman with Herbie Hancock's Sextet, so Hancock was happy to perform as a sideman, doubling on piano and electric piano, with the all-star group, which also includes trumpeter Mike Lawrence, bassist Ron Carter and drummer Jack DeJohnette...
Bobby Hutcherson
Una Muy Bonita (Ornette Coleman)
Summer Nights (Bobby Hutcherson)
from Stick-Up! 1968
Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson... The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that -- coupled with the energetic performances -- ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.
Big John Patton
Let 'Em Roll )Big John Patton)
Latona (Big John Patton)
The Turnaround (Hank Mobley)
from Let 'Em Roll 1967
In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's "The Turnaround," which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs... Also notable are Patton's own tunes, the most beautiful of which is "Latona," a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.
