Joe Henderson
Page One

There are records that one listens to, likes, appreciates; but there are some that stick in your mind, that you can't help but listen to, that speak to your soul. It's a unique feeling, that only a few artists are capable of conveying. This is one of those few records that manages to speak to my soul.

It's June of '63, when Joe Henderson is ready to record his first Blue Note album; with him are the trumpeter who "discovered" him, Kenny Dhoram, one of the greatest pianists of all time, McCoy Tyner, bassist Butch Warren, and Pete La Roca, a drummer with Latin rhythms in his blood.

Here we go: the first track is by Kenny Dhoram, one of the most loved and played standards of the Hard-Bop period, "Blue Bossa". From the very first notes, you can tell it will be a day to remember; the two horns create a soft, refined sound, while Tyner’s voicings, La Roca's brushwork, and Warren's bass pulses contribute to creating the warm timbre of the quintet.
Another piece by Dhoram, a sensual and relaxing ballad, written precisely to highlight Henderson's velvety tenor sax, which seems to glide over the notes it produces itself. It is worth noting the skill of these musicians in playing such a slow piece without being tedious or banal.
But now it’s time to "wake up" the listener. "Homestretch" is a fast-paced, quintessentially Hard-bop piece, which flows swiftly and showcases the technical qualities and fluidity of phrasing of these jazz musicians.
On par with "Blue Bossa", "Recorda Me" will become a must-know piece for any musician approaching the study of the Hard-Bop repertoire. A wonderful theme, a product of the compositional inventiveness of the session's leader, who then embarks on a spine-chilling solo; McCoy Tyner is not to be outdone, demonstrating his versatility in the various musical contexts he has found himself throughout his successful career.
"Jinrikisha", demonstrates Henderson's imagination and interest in the musical cultures of the East, particularly China. A rough-hewn piece, yet it turns out to be Tyner's natural habitat, who had already had a chance to explore the oriental sound, thanks to Coltrane's insights.
The blues of the session - minor, in this case - arrives at the end. Every self-respecting jazzman is comfortable in the blues and it shows: Dhoram’s entry after the stop that opens his solo speaks for itself. Then Henderson, his solo is a synthesis of technique and lyricism; after a masterful closing, which Tyner seems to appreciate as he almost quotes the same tenor notes, there’s the piano solo, perfectly suited to the track's "mood"; the last solo is Warren's bass, inspired also by the previous musicians.

In this historic album, the fantastic sound that the musicians - and perhaps Rudy Van Gelder - managed to create is especially to be appreciated: the timbre of the instruments is so warm that you can almost feel a sensation of heat on your skin. Furthermore, do not forget, that if you listen with passion, this album can speak to your soul.