Bobby Few et Jacques de Lignières

autour de midi, jazz club à paris, montmartre, hardbop, bebop

Jacques de Lignières – Bio

A propos de Jacques de Lignières
JdL Quartet se produit dans plusieurs clubs parisiens (le Petit Journal Montparnasse, le Franc Pinot, Autour de Midi …) et dans quelques festivals (Jazz à St Piat, May Jazz, Jazz au Confluent…) avec Claudine François au piano, actuellement Olivier Léger, Stéphane Benveniste à la contrebasse, puis Xavier Barloy, actuellement Hervé Czak , Bertrand Perrin à la batterie, actuellement Serge Lamboley, et toujours JdL ! Mais également avec des guest stars : Bobby Few, Frédéric Delestré…

JdL Quartet en concert à Conflans…
…Le sax alto se vit dans le jazz à l’ombre de l’oiseau Parker, dont la pyrotechnie aérienne est devenue la référence absolue et incontournable des altistes. Or, il existe au moins une autre voie, celle tracée par le moins connu Art Pepper, musicien californien dont la vie tourmentée se reflète dans un timbre fragile, voire écorché mais dynamique, qui le rapprocherait d’une forme expressioniste. C’est plutôt dans cette direction que se pencherait Jacques de Lignières, un musicien dont le style, de prime abord détendu à la limite de la nonchalance, révèle vite un goût pour les tensions, et une envie de la note et de la phrase qui en dit plus sur la vie intérieure… On y entend pousser jusqu’à la plainte, celle qui puise dans le langage du blues. Sa composition Temps incertain est exemplaire de cette dualité. Sur un rythme à la légèreté façon habañera se déploie un thème sur fond de canevas harmonique aux changements déstabilisants comme le suggère le titre.
La référence à Pepper, on la retrouve explicitement dans la reprise d’un lancinant blues en 5 temps, Las Cuevas de Mario (Pepper’s Caves). Déjouant la difficulté du métrique, la solide assise rythmique fournie par Hervé Czak à la contrebasse permet au pianiste Olivier Léger de développer son jeu puissant au son perlé dans de belles envolées.
JdL est un arpenteur de la culture musicale, bien au-delà des confins des grands standards : il n’hésite pas à s’inspirer, par exemple, d’un Prélude de Chopin pour en extraire une “jazz waltz”: Lost Prelude, chargée d’émotion ; ou encore à nous convier à partager un bon couscous modal et « caravanesque » à souhait dans l’ambiance d’un bon petit resto nord africain : l’écriture d’Hotel de la Gare vient d’un temps où JdL s’y produisait souvent à Paris… On y met le cap plein sud, darbouka à l’appui, pour un voyage où Serge Lamboley peut donner libre court à son imagination et sa maitrîse des polyrhythmies.
Enfin, JdL est un musicien généreux et ouvert, comme en témoigne l’énergie qu’il consacre depuis deux ans maintenant à l’initiative Jazz au Confluent, une association de bénévoles qui organise tous les ans une quinzaine de concerts de qualité à entrée libre.
Alan Fell

Vous avez dit “Hard Bop”?

 

Le hard bop prend source dans un mouvement de reconnaissance par les noirs américains de leurs origines, appelé Black is beautiful (« Le Noir est beau ») : un retour aux sources de la musique, à l’Afrique et, en même temps, une réaction agressive (musicalement parlant) au cool jazz (d’où le terme « hard ») surtout dominé par les blancs. L’auteur américain David Rosenthal nota aussi que le hard bop était un développement naturel pendant une époque où des musiciens d’envergure (Tadd Dameron, par exemple) travaillaient et dans le jazz et dans le rhythm and blues.

Même si la plupart des acteurs de ce courant ont fait leur apprentissage dans le style bebop (d’où le terme « bop »), ce genre musical incorpore les influences du rhythm and blues, du blues et du gospel, notamment dans les jeux du piano et du saxophone.

Les morceaux de hard bop ont généralement un tempo plus lent que le bebop, et si le hard bop en reprend les innovations harmoniques, la part du rythme y est nettement plus marquée, sans doute en raison de la contribution majeure des batteurs Max Roach et Art Blakey. On y découvre d’ailleurs pour la première fois des batteurs compositeurs.

Le hard bop est généralement pratiqué par un quintet composé d’une section rythmique (pianiste, batteur et bassiste) et de deux “soufflants” — communément un saxophoniste ténor et un trompettiste — qui interprètent ensemble un thème entourant une série de solos improvisés tour à tour par chacun des musiciens sur l’harmonie du morceau.

 

Évolution

Une première apparition des caractéristiques du hard bop se reconnaît dans le quintette fondé en 1954 par le batteur Max Roach et le trompettiste Clifford Brown, rejoints en 1955 par le saxophoniste ténor Sonny Rollins. Toutefois, on considère que le premier représentant de ce style fut le groupe des Jazz Messengers créé par le batteur Art Blakey et le pianiste Horace Silver en 1955. Ce dernier formera en 1956 son propre quintette.

En 1955 également, le trompettiste Miles Davis embaucha le saxophoniste John Coltrane (Sonny Rollins ayant décliné l’invitation) dans son quintet, au côté de Red Garland (piano), Paul Chambers (basse) et Philly Joe Jones (batterie). À cette époque, Coltrane était encore un musicien inconnu.

En 1957, c’est au tour de Sonny Rollins de créer son ensemble — dans lequel on retrouvait Silver, Monk, Chambers — et d’inaugurer l’apparition du trombone dans le hard bop avec Jay Jay Johnson.

Blue Note et Prestige sont les principaux labels qui produisirent des groupes de hard bop et, pendant cette période, le graphisme des pochettes d’albums évolua fortement.

Le soul jazz se développa à partir du hard bop. Le saxophoniste alto Jackie McLean réussit une fusion du hard bop et du jazz modal pendant les années 60 et celles qui suivirent.

 

Quelques Hard Bopers…

 Pepper Adams • Cannonball Adderley • Nat Adderley • Gene Ammons  • Dave Bailey • Donald Bailey • Ray Barretto • Kenny Barron • George Benson • Art Blakey • Joanne Brackeen • Nick Brignola • Tina Brooks • Clifford Brown • Ray Brown • Ray Bryant • Rusty Bryant • Kenny Burrell • Frank Butler • Don Byas • Donald Byrd • Conte Candoli • Paul Chambers • Ray Charles • Sonny Clark • Kenny Clarke • Jimmy Cleveland • Jimmy Cobb • Ornette Coleman • John Coltrane • Junior Cook • Bob Cooper • Curtis Counce •  Sonny Criss • Miles Davis • Walter Davis, Jr. • Lou Donaldson • Kenny Dorham • Kenny Drew • Teddy Edwards • Booker Ervin • Art Farmer • Tommy Flanagan • Ricky Ford • Frank Foster • Curtis Fuller • John Gilmore • Benny Golson • Dexter Gordon • Wardell Gray • Benny Green • Grant Green • Johnny Griffin • Gigi Gryce • Herbie Hancock • Roy Hargrove • Barry Harris • Eddie Harris • Louis Hayes • Jimmy Heath • Joe Henderson • Billy Higgins • Elmo Hope • Freddy Hubbard • Bobby Hutcherson • Milt Jackson • The Jazz Crusaders • The Jazz Lab • The Jazztet •  J.J. Johnson • Elvin Jones • Hank Jones • Philly Joe Jones • Clifford Jordan • Duke Jordan • Wynton Kelly • Harold Land • Jake Langley • Victor Lewis • Lighthouse All-Stars • Erica Lindsay • Melba Liston Les McCann • Jackie McLean • Charles Mingus • Blue Mitchell • Hank Mobley • T.S. Monk • Thelonious Monk • J.R. Monterose • Wes Montgomery • Ralph Moore • Lee Morgan • David “Fathead” Newman • Horace Parlan • Duke Pearson • Houston Person • Bud Powell • Ike Quebec • Freddie Redd • Dizzy Reece • Jerome Richardson • Max Roach • Sonny Rollins • Frank Rosolino • Charlie Rouse • Tom Scott • Woody Shaw • Travis Shook • Wayne Shorter • Horace Silver • Jimmy Smith • Lonnie Smith • Marvin “Smitty” Smith • Mike Smith • Sonny Stitt • Art Taylor • Clark Terry • The Three Sounds • Bobby Timmons • Stanley Turrentine • Tommy Turrentine • Cedar Walton • Doug Watkins • Mark Whitfield • Richard Williams • Larry Young.

Horace Silver – The Jody Grind (Album Review) 1966

Horace Silver

Jody Grind

• Release Date: 1966 11 01+1966 11 23
• Running Time: 40:40
• Label: Blue Note

Following the subtly modern bent of much of The Cape Verdean Blues, Horace Silver recommitted himself to his trademark “funky jazz” sound on The Jody Grind. Yet he also consciously chose to keep a superbly advanced front line, with players like trumpeter Woody Shaw (retained from the Cape Verdean session), altoist/flutist James Spaulding, and tenor saxophonist Tyrone Washington. Thus, of all Silver’s groove-centered records, The Jody Grind winds up as possibly the most challenging. It’s also one of the most underappreciated; Silver’s piano playing is at its rhythmic, funky best throughout, brimming over with confidence and good cheer, and evoking memories of the classic feel of his early-’60s quintet. His compositions have a similarly bright overtone, which (as the liner notes allude to) was becoming increasingly rare in mid-’60s jazz as the fury of the avant-garde and the Civil Rights upheaval began to seep into jazz’s wider consciousness. The title cut is a playful, overlooked classic on the funky side of hard bop; Silver kicks it with a tasty groove, giving the rest of the musicians plenty to play off of. The whole group absolutely burns through “Grease Piece,” a terrific hard swinger full of smoking solo statements from just about everyone on down to drum whiz Roger Humphries. Really, the whole album is packed with great grooves and tight solos, epitomizing the best virtues of Silver’s music. For those who have digested classics like Song for My Father, Blowin’ the Blues Away, and Finger Poppin’, The Jody Grind is one of the best places to go next. Steve Huey, All Music Guide

Tracks:

Title Composer Time

1 Jody Grind Silver 5:53
2 Mary Lou Silver 7:12
3 Mexican Hip Dance Silver 5:56
4 Blue Silver Silver 6:00
5 Grease Piece Silver 7:34
6 Dimples Silver 7:18

via Horace Silver Jody Grind Album Review, Songs, Rating .

Spyro Gyra – Morning Dance

Spyro Gyra est un groupe américain de jazz-rock fusion formé au début des années 1970 dans la ville de Buffalo, dans l’état de New York. Il a connu de nombreuses versions différentes, les seuls membres actuels issus de la formation d’origine étant le saxophoniste alto Jay Beckenstein et le pianiste/claviériste Tom Schuman. Ils sont actuellement épaulés par le guitariste Julio Fernandez, le bassiste Scott Ambush et le

 batteur/percussionniste Bonny Bonaparte. Avec plus de 25 albums au compteur et 10 millions de copies vendues, ils forment l’un des groupes de jazz fusion les plus vendeurs aux États-Unis. Leur musique combinant jazz et éléments de funk, R&B ou pop (avec quelques influences caribéennes notables), ils sont de ce fait considérés comme l’un des groupes ayant forgé le son du smooth jazz, ce qui leur vaudra parfois les critiques de puristes qui leur reprocheront leur approche trop mélodique et donc leur manque d’improvisation, cas classique de tous les artistes ou groupes appartenant à ce genre. Toutefois, ils sont reconnus comme des musiciens de talent, notamment pour leurs prestations live et accumulent les récompenses aux Grammy Awards, aussi bien dans les catégories Jazz fusion, Pop instrumentale que R&B instrumental.

The Jody Grind

The Jody Grind  is a 1966 album by the Horace Silver Quintet, led by jazz pianist Horace Silver.

Jazz Giant Marton Esquie once spoke concerning this album.”I really love many aspects in the Experimental Constructionist’ view of this album and its entire contents.”

Track listing 

1.  “The Jody Grind” – 5:53
2.  “Mary Lou” – 7:12
3.  “Mexican Hip Dance” – 5:56
4. “Blue Silver” – 6:00
5.  “Grease Piece” – 7:34
6.  “Dimples” – 7:18

Personnel

•   Horace Silver (piano)
•  Woody Shaw (trumpet)
•  James Spaulding (flute, alto sax)
•  Tyrone Washington (tenor sax)
•  Larry Ridley (bass)
•   Roger Humphries (drums)

Label:  Blue Note

Pork Pie Hat

 

Jazz musician Marcus Miller wearing a pork pie

Lester Young and his Pork Pie Hat

The pork pie hat  originated in the mid 19th century. Originally referring to a type of woman’s hat, it gets its name from its resemblance to a pork pie.

The pork pie hat was a staple of the British man-about-town style for many years. Pork pie hats are often associated with Jazz, Blues and Ska musicians and fans. Charlie Mingus wrote an elegy for jazz saxophone great Lester Young  called “Goodbye Pork Pie Hat” and the story said i wrote this tune during the night just after Lester’s death. Many artists have performed this tune, including Jeff Beck and Joni Mitchell.

Chromatic semitones table

 

Chromatic Semitones table

Premier Show le 13 Mars au festival Jazz en Ville de Conflans Ste Honorine!

 

 

6ème JAZZENVILLE

DE CONFLANS SAINTE HONORINE

 

Du vendredi 06 mars au samedi 14 mars 2009

 

Marraine du festival : Elisabeth Caumont

MJC – LES TERRASSES

Avenue du Pont – Conflans sainte Honorine

 

 

° Vendredi 13 mars 2009

Lieu : MJC de Conflans

°  20h30 - Concert (Entrée gratuite)

Atelier SOUL / JAZZ de La Clef à Saint Germain en Laye

°  21h30 - Concert (Entrée gratuite)

H’R BLUES SEXTET

°  22h30 - Concert (Entrée gratuite)

Atelier JAZZ de La Clef à Saint Germain en Laye

la plaquette du festival Jazz en Ville: jazz-au-confluant-edito

100 Best Hardbop Recordings

A collection of  what is known to be the best Hardbop recordings: 

 

• Wardell Gray – Los Angeles All-Stars – Jan. 21, 1952 Prestige2
• J.J. Johnson – The Eminent J.J., Vol. 1 – June 22, 1953 Blue Note3
• Miles Davis Walkin’ – April 29, 1954 Prestige4
• Elmo Hope – Elmo Hope Quintet – May 9, 1954 Blue Note5
• Art Farmer – When Farmer Met Gryce – May 19, 1954 Prestige6
• Sonny Rollins – Movin’ Out Aug. – 18, 1954 Prestige7
• Horace Silver – The Jazz Messengers – Dec. 13, 1954 Blue Note8
• Clifford Brown – Study In Brown – Feb. 23, 1955 EmArcy9
• Kenny Dorham – The Jazz Prophets – April 4, 1956 Chess10
• Art Blakey – The Jazz Messengers – April 6, 1956 Columbia11
• Johnny Griffin – Introducing Johnny Griffin – April 17, 1956 Blue Note12
• Max Roach – Max Roach Plus Four – Sept. 17, 1956 EmArcy13
• The Lighthouse All-Stars – Music For Lighthouse keeping – Oct. 2, 1956 Contemporary14
• J.R. Monterose – J.R. Monterose – Oct. 21, 1956 Blue Note15
• Clifford Jordan – Blowing In From Chicago – March 3, 1957 Blue Note16
• Clark Terry – Serenayde To A Bus Seat – April 1, 1957 Riverside17
• Ray Bryant – Ray Bryant Trio – April 5, 1957 Prestige18
• John Coltrane – Blue Train – Sept. 15, 1957 Blue Note19
• Lee Morgan – The Cooker – Sept. 29, 1957 Blue Note20
• Ornette Coleman – Something Else – Feb. 10, 1958 Contemporary21
• Jimmy Smith – The Sermon – Feb. 25, 1958 Blue Note22
• Cannonball Adderley – Portrait of Cannonball – July 1, 1958 Riverside23
• Lou Donaldson -The Blues Walk – July 28, 1958 Blue Note24
• Thelonious Monk – Misterioso – Aug. 1, 1958 Riverside25
• Dizzy Reece – Blues In Trinity – Aug. 24, 1958 Blue Note26
• Jerome Richardson – Midnight Oil – Oct. 10, 1958 Prestige27
• Art Blakey – Moanin’ – Oct. 30, 1958 Blue Note28
• Frank Rosolino – Free For All – Dec. 22, 1958 Specialty29
• Horace Silver – Finger Poppin’ – Jan. 31, 1959 Blue Note30
• Art Blakey – At The Jazz Corner of the World – April 15, 1959 Blue Note31
• John Coltrane – Giant Steps – May 4, 1959 Atlantic32
• Charles Mingus – Mingus Ah Um – May 5, 1959 Columbia33
• Curtis Fuller – Blues-ette – May 21, 1959 Savoy34
• Donald Byrd – Byrd In Hand – May 31, 1959 Blue Note35
• Harold Land – The Fox – Aug. 1, 1959 Contemporary36
• Walter Davis, Jr. – Davis Cup – Aug. 2, 1959 Blue Note37
• Benny Golson – Groovin’ With Golson – Aug. 28, 1959 Prestige38
• Jimmy Heath – The Thumper   - Sept. 1, 1959 Riverside39
• Bobby Timmons – This Here is Bobby Timmons – -Jan. 13, 1960 Riverside40
• The Jazztet – Meet The Jazztet – Feb. 6, 1960 Chess41
• Hank Mobley – Soul Station – Feb. 7, 1960 Blue Note42
• Art Blakey – The Big Beat – March 6, 1960 Blue Note43
• Barry Harris – At The Jazz Workshop – May 15, 1960 Riverside44
• Freddie Redd   - The Connection – June 13, 1960 Felsted45
• Tina Brooks – True Blue – June 25, 1960 Blue Note46
• Teddy Edwards – Teddy’s Ready – Aug. 17, 1960 Contemporary47
• Jackie McLean – Jackie’s Bag – Sept. 1, 1960 Blue Note48
• Booker Ervin – Cookin’ – Nov. 26, 1960 Savoy49
• Kenny Drew – Undercurrent   -Dec. 11, 1960 Blue Note50
• Stanley Turrentine – The Blue Hour – Dec. 16, 1960 Blue Note51
• Freddie Hubbard – Hub Cap – April 9, 1961 Blue Note52
• The Jazz Crusaders – Best of the Jazz Crusaders – May 1, 1961 Pacific Jazz53
• Dexter Gordon – Doin’ Allright – May 6, 1961 Blue Note54
• Horace Silver – Doin’ The Thing – May 20, 1961 Blue Note55
• Gene Ammons – Boss Tenors – Aug. 27, 1961 Verve56
• Sonny Clark – Leapin’ & Lopin’ – Nov. 13,   Note57
• Don Byas – Tribute To Cannonball – Dec. 15, 1961 Columbia58
• Herbie Hancock – Takin’ Off – May 28, 1962 Blue Note59
• Wes Montgomery – Full House – June 25, 1962 Riverside60
• Blue Mitchell – The Cup Bearers – Aug. 28, 1962 Riverside61
• Kenny Burrell – Midnight Blue – Jan. 7, 196 3Blue Note62
• Joe Henderson – Page One – June 3, 1963 Blue Note63
• Lee Morgan – The Sidewinder – Dec. 21, 1963 Blue Note64
• Grant Green – Solid – June 12, 1964 Blue Note65
• Wayne Shorter   - Speak No Evil – Dec. 24, 1964 Blue Note66
• Hank Mobley – Dippin’ – June 18, 1965 Blue Note67
• Lee Morgan – Cornbread – Sept. 18, 1965 Blue Note68
• Horace Silver – Cape Verdean Blues – Oct. 1, 1965 Blue Note69
• Larry Young – Unity – Nov. 10, 1965 Blue Note70
• Joe Henderson – Mode For Joe – Jan. 27, 1966 Blue Note71
• George Benson – George Benson Cookbook – Aug. 1, 1966 Columbia72
• Sonny Criss – This Is Criss!  - Oct. 21, 1966 Prestige73
• Lee Morgan – The Procrastinator – July 14, 1967 Blue Note74
• Duke Pearson – The Right Touch – Sept. 13, 1967 Blue Note75
• Lonnie Smith – Think!  -July 23, 1968 Blue Note76
• Rusty Bryant – Rusty Bryant Returns – Feb. 17, 1969 Prestige77
• Les McCann   -   Swiss Movement – June 22, 1969 Atlantic78
• Houston Person – Goodness!  - Aug. 25, 1969 Prestige79
• Louis Hayes – Ichi-Ban – May 5, 1976 Timeless80
• Nick Brignola – L.A. Bound – Oct. 17, 1979 Night Life81
• Art Blakey – Straight Ahead – June 1, 1981 Concord82
• David “Fathead” Newman – Still Hard Times April 14, 1982 Muse83
• Joanne Brackeen – Fi-Fi Goes To Heaven – Oct. 1, 1986 Concord84
• Marvin “Smitty” Smith – Keeper Of The Drums – March 1, 1987 Concord85
• Bobby Hutcherson – Cruisin’ The ‘Bird – April 15, 1988 Landmark86
• Ray Brown – Bam Bam Bam – Dec. 1, 1988 Concord87
• Ricky Ford – Hard Groovin’ – Feb. 24, 1989 Muse88
• Erica Lindsay – Dreamer – March 3, 1989 Candid89
• Roy Hargrove – Diamond In The Rough – Dec. 1, 1989 Novus90
• Benny Green – Lineage – Jan. 30, 1990 Blue Note91
• Ralph Moore – Furthermore- March 3, 1990 Landmark92
• Ray Brown – Moore Makes Four – May 22, 1990 Concord93
• Mike Smith – On A Cool Night – Jan. 1, 1991 Delmark94
• T.S. Monk – Take One – Oct. 16, 1991 Blue Note95
• Tom Scott – Born Again – March 1, 1992 GRP96
• Travis Shook – Travis Shook – Jan. 1, 1993 Columbia97
• Kenny Barron – Other Places – Feb. 1, 1993 Verve98
• Jimmy Smith – Damn! – Jan. 24, 1995 Verve99
• Horace Silver – The Hardbop Grandpop – Feb. 29, 1996 Impulse! 100
• Jake Langley  - Doug’s Garage – Nov. 10, 1999 Radioland

 

A courtesy of Hardbop Homepage (http://hardbop.tripod.com/index.html

If you feel like patting your feet, pat your feet

“We’d like to have you all join in with us on this one and help us find the groove by patting your feet, or popping your fingers, or clapping your hands, or shaking your heads . . . or shaking whatever else you want to shake.”
–Horace Silver Doin’ the Thing, Blue Note, 1959.
“If you feel like patting your feet, pat your feet. If you feel like clapping your hands, clap your hands. And if you feel like taking off your shoes, take off your shoes. We are here to have a ball. So we want you to leave your worldly troubles outside and come in here and swing.”
–Art Blakey At the Jazz Corner of the World, Blue Note, 1959.

Joe Henderson – Bio

Joe Henderson

 

Joe Henderson

Tenor Saxophone
April 24, 1937 — June 30, 2001

“Joe Henderson is always in the middle of a great solo.”

–Richard Cook & Brian Morton

Joe Henderson was born in Lima, Ohio, on April 24, 1937. Lima is fifty miles south of Toledo, Ohio, sixty miles north of Dayton, Ohio, sixty miles east of Ft. Wayne, Indiana, and about a hundred and twenty miles from Detroit–which is probably the reason why Joe went to Detroit to live and study.

He finished high school in Lima, and gives credit to a home town drummer, John Jarette, who advised him to listen to Charlie Parker, among others. Getz was the one who got through to him first because of his sound, taste and simplicity; however, later, Charlie Parker became his great inspiration.

There were a couple of piano players around Lima who gave him a working knowledge of the piano, namely Richard Patterson and Don Hurless. They were older fellows who went to school with his older brothers and sisters. Incidentally, there were fifteen brothers and sisters, and there being no night baseball or T.V., this might have possibly accounted for such a large family.

Joe’s first saxophone teacher, Herbert Murphy, was responsible for his embryonic understanding of the instrument. Joe was still in high school, and he did quite a bit of writing for the school concert band and also for various “rock” groups that came through Lima.

“My older brother James T. encouraged me to go to college to cultivate the talent he thought I had. I went to Kentucky State College for one year, then to Wayne University in Detroit where I met Yusef Lateef, High Lawson, Donald Byrd and all the other motor city musicians.”

In Detroit, Joe studied with Larry Teal at the Teal School of Music, learning theory, harmony and the finer points of saxophone playing. He also studied flute and string bass at Wayne University. During the latter part of 1959, he formed his own group. Prior to his army induction, he was commissioned by “UNAC,” an organization similar to NAACP or the Urban League, to do a suite called “Swing and Strings” which showcased some originals arranged by him, played by an orchestra comprised of ten members from the Detroit Symphony Orchestra combined with the local dance band of Jimmy Wilkins, the brother of Ernie Wilkins.

1960 found Joe Henderson in the United States Army Band at Fort Benning, GA. He had competed in the army talent show and won first place with a 4 piece combo, which qualified him for the all army entertainment contest. Later he was chosen at Fort Belvoir, Virgina, to tour with a show around the world to entertain troops. This tour led him to Okinawa, Korea, Japan, Panama, Italy, Spain, Germany, France, England and other countries. While in Paris, he sat in with Kenny Clarke and Kenny Drew.

In the late summer of 1962, a bearded young 25 year old tenor saxophonist, slight of build, with might in his fingers, rolled into New York town in a sleek black Mercedes-Benz. He was just discharged from the United States Army in Maryland where he had concluded a two year hitch. The first stop was at a party at a friend’s place (saxophonist Junior Cook) where I was introduced to this bearded, goateed astronaut of the tenor sax. Later I suggested that we go down to see Dexter Gordon who was headlining the Birdland Monday night “Jazz Jamboree.” Boarding the “A” train, we were at 52nd Street and Broadway some twenty five minutes later. Once inside Birdland, Henderson was introduced to one of the “swingingest swingers” in jazzdom’s history, Dexter Gordon. “Long Tall Dexter” asked the young man if he’d like to play some.

Minutes afterward, the musical astronaut was on the launching pad, and the count down was in progress with a three man crew (rhythm section) behind him. There was a thunderous (Art Blakey type) roar from the battery man, and the saxophonist was off and soaring his (lyrical) way to new heights on a Charlie Parker blues line. At the end of the chorus (and I do mean 15 to 20), there was a warm and exhilarating applause for Joe, and as for Dex, sitting on the side, he looked “gassed.”

Here’s hoping that the young gentleman from Lima, Ohio, can cash in on all of his wonderful talents–his arranging, composing and tenor “saxophoning” extraordinary. Here’s hoping that his skies remain blue and his horizon clear, and that he receives his due, and that all who hear him will support the boy from “Soulsville.”

–KENNY DORHAM, from the liner notes,
Page One, Blue Note.

---

A selected discography of Joe Henderson albums.

• Page One, 1963, Blue Note.
• Our Thing, 1963, Blue Note.
• In ‘n Out, 1964, Blue Note.
• Inner Urge, 1964, Blue Note.
• Mode For Joe, 1966, Blue Note.
• Relaxin’ at Camarillo, 1979, Contemporary.
• Lush Life, 1991, Verve.

from: http://hardbop.tripod.com/henderson.html

Charlie Mingus – Discography

As bandleader

• Baron Mingus – West Coast 1945-49 (1949, Uptown)
• Strings and Keys (duo with Spaulding Givens) (1951, Debut)
• The Young Rebel (1952, Swingtime)
• The Charles Mingus Duo and Trio (1953, Fantasy)
• Charles Mingus Octet (1953, Debut)
• The Moods of Mingus (1954, Savoy)
• The Jazz Experiments of Charles Mingus (1954, Bethlehem)
• Jazzical Moods (1954, Bethlehem)
• Mingus at the Bohemia (1955, Debut)
• The Charles Mingus Quintet & Max Roach (1955, Debut)
• Pithecanthropus Erectus (1956, Atlantic)
• The Clown (1957, Atlantic)
• The Jazz Experiments of Charles Mingus (1957)
• Mingus Three (1957, Jubilee)
• East Coasting (1957, Bethlehem)
• A Modern Jazz Symposium of Music and Poetry (1957, Bethlehem)
• Blues & Roots (1959, Atlantic)
• Mingus Ah Um (1959, Columbia)
• Mingus Dynasty (1959, Columbia)
• Jazz Portraits: Mingus in Wonderland (1959, United Artists)
• Pre Bird (1960, Mercury)
• Mingus at Antibes (1960, Atlantic)
• Charles Mingus Presents Charles Mingus (1960, Candid)
• Reincarnation of a Love Bird (1960, Candid)
• Tonight at Noon (1961, Atlantic)
• Vital Savage Horizons (1962, Alto)
• Tempo di Jazz (1962, Tempo di Jazz)
• Town Hall Concert (1962, Blue Note)
• Oh Yeah (1962, Atlantic)
• Tijuana Moods (1962, RCA)
• The Black Saint and the Sinner Lady (1963, Impulse!)
• Mingus Mingus Mingus Mingus Mingus (1963, Impulse!; sometimes referred to as Five Mingus)
• Mingus Plays Piano (1963, Impulse!)
• Soul Fusion (1963, Pickwick live)
• Revenge! (live 1964 performance with Eric Dolphy, 32 Jazz; previously issued by Prestige as The Great Paris Concert)
• Town Hall Concert (1964, Fantasy)
• Concertgebouw Amsterdam, Vol. 1 (1964, Ulysse Musique)
• Charles Mingus Live In Oslo 1964 Featuring Eric Dolphy (1964, Jazz Up)
• Charles Mingus Sextet Live In Stockholm 1964 (1964, Royal Jazz)
• Charles Mingus Sextet Live In Europe (1964, Unique Jazz)
• The Great Concert Of Charles Mingus (1964, America)
• Charles Mingus Sextet with Eric Dolphy CORNELL March 18 1964 (2007, Blue Note)
• Mingus In Europe (1964, Enja)
• Mingus In Stuttgart, April 28, 1964 Concert (1964, Unique Jazz)
• Right Now: Live At The Jazz Workshop (1964, Fantasy)
• Mingus At Monterey (1964, Mingus JWS)
• Music Written For Monterey 1965. Not Heard… Played In Its Entirety At UCLA, Vol. 1&2 (1965, Mingus JWS)
• Charles Mingus – Cecil Taylor (1966, Ozone)
• Statements (1969, Joker)
• Paris TNP (1970, Ulysse Musique)
• Charles Mingus Sextet In Berlin (1970, Beppo)
• Charles Mingus (1971, Columbia)
• Charles Mingus And Friends In Concert (1972, Columbia)
• Charles Mingus Quintet Featuring Dexter Gordon (1972, White Label)
• Let My Children Hear Music (1972, Columbia)
• Passions of a Man (1973, Atlantic)
• Mingus At Carnegie Hall (1974, Atlantic)
• Changes One (1974, Atlantic)
• Changes Two (1974, Atlantic)
• Mingus Moves (1974, Atlantic)
• Village Vanguard 1975 (1975, Blue Mark Music)
• The Music Of Charles Mingus (1977, Bayside)
• Stormy & Funky Blues (1977)
• Cumbia & Jazz Fusion (1977, Atlantic)
• Three or Four Shades of Blues (1977)
• His Final Work (1977)
• Something Like a Bird (1979, Atlantic) (Mingus does not play on this session)
• Me, Myself An Eye (1979, Atlantic) (Mingus does not play on this session)
• Epitaph (1990, Columbia) (Mingus does not play on this session)
• Mingus Mysterious Blues (1990, Candid) (Mingus does not play on this session)

 

As a sideman

• Robbins’ Nest (with Illinois Jacquet) (1945, Toho)
• Mellow Mama (with Dinah Washington) (1945, Delmark)
• Hot Piano (with Wilbert Baranco) (1946, Tops)
• Ivie Anderson and Her All Stars (with Ivie Anderson) (1946, Storyville)
• Lionel Hampton and His Orchestra 1948 (with Lionel Hampton) ((1948, Weka)
• Lionel Hampton in Concert (with Lionel Hampton) ((1948, Cicala Jazz)
• The Red Norvo Trio (with Red Norvo) (1951, Savoy)
• Move (with Red Norvo) (1951, Savoy)
• Miles Davis at Birdland 1951 (with Miles Davis) (1951, Beppo)
• Jazz in Storyville (with Billy Taylor) (1951, Roost)
• The George Wallington Trios Featuring Charles Mingus, Oscar Pettiford, Max Roach (1952, Prestige)
• Spring Broadcasts 1953 (with Bud Powell) (1953, ESP)
• Inner Fires (with Bud Powell) (1953, Electra/Musician)
• Jazz at Massey Hall (aka. The Greatest Jazz Concert Ever) (with Charlie Parker) (1953, Debut)
• Introducing Paul Bley (with Paul Bley) (1953, Debut)
• Explorations (with Teo Macero) (1953, Debut)
• The New Oscar Pettiford Sextet (with Oscar Pettiford) (1953, Debut)
• Ada Moore (with Ada Moore) (1954, Debut)
• Mad Bebop (with J.J. Johnson) (1954, Savoy)
• The Eminent J.J. Johnson (with J.J. Johnson) (1954, Blue Note)
• Evolution (with Teddy Charles) (1955, Prestige)
• Relaxed Piano Moods (with Hazel Scott) (1955, Debut)
• The John Mehegan Trio/Quartet (with John Mehegan) (1955, Savoy)
• Very Truly Yours (with Jimmy Scott) (1955, Savoy)
• The Fabulous Thad Jones (with Thad Jones) (1955, Debut)
• New Piano Expressions (with John Dennis) (1955, Debut)
• Easy Jazz (with Ralph Sharon) (1955, London)
• Blue Moods (with Miles Davis) (1955, Prestige)
• The Word from Bird (with Teddy Charles) (1956, Atlantic)
• New Faces (with Jimmy Knepper) (1957, Debut)
• Money Jungle (with Duke Ellington and Max Roach) (1962, Blue Note)

Charlie Rouse – Bio

 

Charlie Rouse (April 6, 1924 - November 30, 1988) was an American hard bop tenor saxophonist and flautist. 

Charlie Rouse was in Thelonious Monk’s Quartet for over a decade (1959-1970) and, although somewhat taken for granted, was an important ingredient in Monk’s music. Rouse was always a modern player and he worked with Billy Eckstine’s orchestra (1944) and the first Dizzy Gillespie ig band (1945), making his recording debut with Tadd Dameron in 1947. Rouse popped up in a lot of important groups including Duke Ellington’s Orchestra (1949-1950), Count Basie’s octet (1950), on sessions with Clifford Brown in 1953, and with Oscar Pettiford’s sextet (1955). He co-led the Jazz Modes with Julius Watkins (1956-1959), and then joined Monk for a decade of extensive touring and recordings. In the 1970s he recorded a few albums as a leader, and in 1979 he became a member of Sphere. Charlie Rouse’s unique sound began to finally get some recognition during the 1980s. He participated on Carmen McRae’s classic Carmen Sings Monk album and his last recording was at a Monk tribute concert.

~ Scott Yanow, All Music Guide