The State of the Tenor Volumes One & Two
Joe Henderson (Blue Note)
Recorded live at the legendary Village Vanguard in 1985, Joe Henderson's “The State Of The Tenor Volumes One And Two” is a remarkable album that demonstrates the saxophonist's brilliance and originality. Henderson, who had not recorded as a leader for some time, returned to the label where he started his career, Blue Note, and delivered a stunning performance with his trio, featuring Ron Carter on bass and Al Foster on drums. The album consists of two volumes, each containing eight tracks, mostly Jazz standards by composers such as Thelonious Monk, Horace Silver, Charles Mingus, and Charlie Parker, as well as some of Henderson's own compositions. The choice of tunes reflects Henderson's deep knowledge and respect for the Jazz tradition, as well as his ability to reinterpret and reinvent it with his tenor saxophone. He plays with confidence, creativity, and elegance, exploring a wide range of emotions, rhythms, and harmonies, and displaying a remarkable control of his instrument. He is perfectly matched by Carter and Foster, who provide a rich and dynamic accompaniment, as well as engaging in some spirited dialogue with Henderson. The album captures the essence of a live Jazz performance, with its spontaneity, intensity, and intimacy, and reveals Henderson as one of the most influential and authoritative tenor saxophonists of his generation.
The playing is confident and original. Henderson had a long and distinguished career, spanning from the early 1960s to the late 1990s, and he was always at the forefront of the Jazz scene, collaborating with legends such as Miles Davis, Herbie Hancock, Freddie Hubbard, and Kenny Dorham. He was known for his distinctive tone, his harmonic sophistication, and his lyrical improvisation style, which combined elements of hard bop, modal Jazz, and free Jazz. He was also a prolific composer, writing classics such as “Recorda Me”, “Inner Urge”, and “Black Narcissus”. On this album, he showcases his mastery of the Jazz language, as well as his personal voice and vision, playing with passion, precision, and inventiveness.
The album was carefully prepared, with the themes thoughtfully picked and rehearsed, before the recordings were made at New York's Village Vanguard, one of the most famous and respected Jazz clubs in the world. The venue has a long history of hosting legendary live recordings, such as John Coltrane's “Live At The Village Vanguard”, Bill Evans' “Sunday At The Village Vanguard”, and Sonny Rollins' “A Night At The Village Vanguard”. The club's intimate atmosphere, acoustics, and audience create a unique setting for Jazz musicians to express themselves and interact with each other. Henderson, Carter, and Foster took full advantage of this opportunity, and delivered a memorable performance that was captured on tape by David Baker, the recording engineer who worked with many Jazz greats such as Miles Davis, Herbie Hancock, and Wayne Shorter.
The trio plays with a remarkable cohesion and rapport, creating a balanced and organic sound. Ron Carter, especially, is as innovative and inventive as the leader, playing with a warm and resonant tone, a flawless technique, and a creative approach to harmony and rhythm. He is one of the most recorded and influential bassists in Jazz history, having played with Miles Davis, Herbie Hancock, Wayne Shorter, and many others. He is also a composer and a leader in his own right, having recorded over 40 albums under his name. On this album, he demonstrates his versatility and expressiveness, playing both walking bass lines and melodic solos, and supporting and challenging Henderson and Foster. Al Foster, who was also a member of Miles Davis' band in the 1970s and 1980s, is a masterful drummer, who plays with a subtle and refined touch, a crisp and clear sound, and a keen sense of swing and groove. He is also a sensitive and responsive accompanist, who listens and reacts to the other musicians, and adds color and texture to the music. He is the perfect partner for Henderson and Carter, providing a solid and swinging foundation, as well as adding some sparks and surprises.
The album features a diverse and interesting selection of songs, ranging from bebop classics to modern originals. The first volume opens with “Beatrice”, a beautiful and haunting ballad by Sam Rivers, which showcases Henderson's lyrical and expressive playing. The second track is “Friday The Thirteenth”, a fast and furious blues by Thelonious Monk, which displays the trio's virtuosity and interplay. The third track is “Happy Reunion”, a catchy and upbeat tune by Duke Ellington, which features some playful and witty exchanges between Henderson and Carter. The fourth track is “Loose Change”, a funky and groovy composition by Ron Carter, which highlights Foster's drumming and Henderson's rhythmic and harmonic exploration. The fifth track is “Ask Me Now”, another Monk gem, which is a slow and soulful ballad, with some beautiful and poignant solos by Henderson and Carter. The sixth track is “Isotope”, a complex and challenging piece by Henderson, which showcases his harmonic sophistication and his adventurous improvisation. The seventh track is “Stella By Starlight”, a popular and elegant standard by Victor Young, which features some graceful and refined playing by the trio and serves as a closing statement.
The second volume continues with the same high level of musicianship and creativity. The first track is “Boo Boo's Birthday”, a catchy and groovy tune by Thelonious Monk, which features some playful and witty exchanges between Henderson and Carter. The second track is “Cheryl”, a fast and swinging tune by Charlie Parker, which displays the trio's mastery of the bebop language and their ability to play at breakneck speed. The third track is “Y Ya La Quiero”, a catchy tune by Joe Henderson, which features some playful and witty exchanges between Henderson and Carter. The fourth track is “Soulville”, a soulful and groovy composition by Horace Silver, which highlights Foster's drumming and Henderson's rhythmic and harmonic exploration. The fifth track is “Portrait”, a complex and challenging piece by Charles Mingus and Horace Silver, which showcases Henderson's versatility and expressiveness, as he explores different moods, tempos, and harmonic possibilities. He also displays a remarkable control of his instrument, as he manipulates the beat with his subtle variations of tone and attack. The sixth track is “The Bead Game”, a sophisticated and adventurous piece by Joe Henderson and Lee Konitz, which features some virtuosic and fiery playing by the trio. The seventh and final track is “All The Things You Are”, a classic and beautiful standard by Jerome Kern, which features some lyrical and expressive playing by Henderson and Carter. This track was not included in the original LP, but it was added in a reissue where both volumes were coupled as a two-disc set.
The State Of The Tenor Volumes One And Two is a masterpiece of Jazz, and a testament to Joe Henderson's genius and legacy. It is a rare example of a live recording that captures the energy, spontaneity, and intimacy of a Jazz performance at its best. It is also a showcase of the trio's cohesion and rapport, and their individual and collective skills and creativity. It is an album that every Jazz lover should listen to and enjoy, and that every aspiring Jazz musician should study and learn from.
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