{"title":"Joe Henderson","description":"\u003cp\u003eBorn 24 April 1937 in Lima, Ohio, into a family of 15 children, Joe Henderson started on drums before switching to tenor saxophone at age 13. He transcribed and memorised Charlie Parker solos and was influenced by Lester Young, Stan Getz, Dexter Gordon, and Warne Marsh. Henderson moved to New York in summer 1962 and met trumpeter Kenny Dorham, joining his quintet. His first recording was Dorham's \u003cem\u003eUna Mas\u003c\/em\u003e in April 1963. His leader debut \u003cem\u003ePage One\u003c\/em\u003e was recorded for Blue Note in June 1963, featuring his composition \"Recorda-Me\" and Dorham's \"Blue Bossa\", both of which became jazz standards. He signed to Blue Note and appeared on close to 30 albums from 1963 to 1968. In 1964, he joined Horace Silver's quintet and remained until 1966, appearing on \u003cem\u003eSong for My Father\u003c\/em\u003e. Key sideman appearances included Lee Morgan's \u003cem\u003eThe Sidewinder\u003c\/em\u003e, Andrew Hill's \u003cem\u003ePoint of Departure\u003c\/em\u003e, and Herbie Hancock's \u003cem\u003eThe Prisoner\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eHenderson composed \"Inner Urge\", another jazz standard. From 1969 to 1970, he was in Herbie Hancock's Sextet and briefly joined Blood, Sweat \u0026amp; Tears in 1971. He recorded for Milestone Records through the 1970s, including \u003cem\u003ePower to the People\u003c\/em\u003e (1969) and \u003cem\u003eThe Elements\u003c\/em\u003e (1973). He moved to San Francisco in the mid-1970s and taught at San Francisco Conservatory of Music from 1978 to 1982. In 1985, he returned to Blue Note with \u003cem\u003eThe State of the Tenor\u003c\/em\u003e, recorded live at the Village Vanguard. He signed to Verve in 1991 and released \u003cem\u003eLush Life: The Music of Billy Strayhorn\u003c\/em\u003e (1992), which sold over 450,000 copies worldwide and won a Grammy, earning Down Beat's triple crown: jazz musician of the year, top tenor saxophonist, and record of the year. He suffered a stroke in 1998 and stopped performing. Henderson died on 30 June 2001 in San Francisco, aged 64.\u003c\/p\u003e","products":[{"product_id":"joe-henderson-our-thing-2026-blue-note-classic-vinyl-series","title":"Joe Henderson - Our Thing (2026 Blue Note Classic Vinyl Series)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson - \u003cem\u003eOur Thing\u003c\/em\u003e | Vinyl LP - 2026 Blue Note Classic Vinyl Series (180g, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eJoe Henderson's second Blue Note album\u003c\/strong\u003e, recorded on 9 September 1963 at Van Gelder Studio, Englewood Cliffs — three months after his debut \u003cem\u003ePage One\u003c\/em\u003e with the same frontline partnership of Henderson and Kenny Dorham\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFive originals written collectively by Henderson and Dorham\u003c\/strong\u003e: Henderson contributed \"Teeter Totter\" and the title track; Dorham wrote \"Pedro's Time,\" \"Back Road\" and the closing \"Escapade\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2026 Blue Note Classic Vinyl Series\u003c\/strong\u003e, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eJoe Henderson recorded his debut \u003cem\u003ePage One\u003c\/em\u003e for Blue Note in June 1963, then returned to Van Gelder Studio in Englewood Cliffs on 9 September 1963 for this follow-up. The core relationship was the same — Henderson's tenor alongside Kenny Dorham's trumpet, Pete La Roca on drums — but Andrew Hill came in on piano where McCoy Tyner had played on \u003cem\u003ePage One\u003c\/em\u003e, and Eddie Khan on bass replaced Butch Warren. The substitution of Hill for Tyner is the record's defining character shift. Tyner's playing provides a rhythmic anchor; Hill's is more elliptical, his voicings deliberately off-centre in a way that keeps the harmonic ground unstable. \u003c\/p\u003e\n\u003cp\u003eThe five tracks were composed entirely by the two frontline players. Henderson wrote the opening \"Teeter Totter\" and the title track; Dorham wrote the remaining three. \"Pedro's Time\" has a Latin feel and a 10-minute runtime that gives both players extended solo space. \"Escapade\" closes the album as a lyrical Dorham ballad, measured and cinematic. Dorham, whose career as a bandleader had produced \u003cem\u003eUna Mas\u003c\/em\u003e for Blue Note the same year, is given unusual room here to demonstrate his composing voice alongside Henderson's. \u003cmeta charset=\"utf-8\"\u003eThe Henderson-Dorham partnership produced some of the most consistent hard bop-to-post-bop music of the early 1960s; Dorham also contributed to \u003cem\u003eSong For My Father\u003c\/em\u003e (Horace Silver) and \u003cem\u003eIdle Moments\u003c\/em\u003e (Grant Green) in the same year. When the album was released in 1964 it received a measured reception, but it has since become an essential post-bop recording of the era. This 2026 pressing is the latest in the Classic Vinyl Series, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43290619445307,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/JoeHenderson-OurThing_1LP-Cvr_RGB.webp?v=1773872304"},{"product_id":"art-farmer-with-joe-henderson-yama-1979-japanese-cti-vinyl-lp","title":"Art Farmer with Joe Henderson - Yama (1979 Japanese CTI Vinyl LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: NM\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Farmer with Joe Henderson - \u003cem\u003eYama\u003c\/em\u003e | Vinyl LP - 1979 Japanese CTI (K20P-6842, King Record Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eArt Farmer and Joe Henderson's only recorded collaboration\u003c\/strong\u003e, cut at the Power Station in New York in April 1979\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eReleased in Japan in 1979 and not issued in the United States until May 1982\u003c\/strong\u003e, when CTI finally recovered sufficient funding; Farmer's fifth and final CTI album and one of only a small number of studio recordings Henderson made for the label\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e1979 Japanese CTI pressing on King Record Co. Ltd.\u003c\/strong\u003e (K20P-6842); mastered by Rudy Van Gelder; non-gatefold sleeve with insert\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eArt Farmer had been living in Vienna since 1968, but all but one of his CTI albums were recorded in New York. \u003cem\u003eYama\u003c\/em\u003e was the last of them, recorded at the Power Station in April 1979. It is also the only studio recording Farmer made with Joe Henderson. Creed Taylor produced; Mike Mainieri served as associate producer and wrote all the arrangements. The five tracks were drawn entirely from outside sources, which was standard CTI practice by the late 1970s and reflected Mainieri's particular sensibility in repertoire selection. Clare Fischer's \"Dulzura\" — which had debuted on Fischer's 1965 album \u003cem\u003eManteca!\u003c\/em\u003e and received very little coverage before this — opens the record. The Bee Gees' \"Stop (Think Again)\" came from their 1979 post-\u003cem\u003eSaturday Night Fever\u003c\/em\u003e album \u003cem\u003eSpirits Having Flown\u003c\/em\u003e, an unusual choice that works in the hands of Mainieri's arrangements. Joe Zawinul's \"Young and Fine\" had appeared the previous year on Weather Report's \u003cem\u003eMr. Gone\u003c\/em\u003e, with Steve Gadd also on drums for that session. Don Grolnick's \"Lotus Blossom\" and Mainieri's own \"Blue Montreux\" close the record.\u003c\/p\u003e\n\u003cp\u003eThe rhythm section — Gadd, Eddie Gomez on acoustic bass, Will Lee on electric bass, Sammy Figueroa on percussion, guitarists David Spinozza and John Tropea, and keyboard trio of Grolnick, Warren Bernhardt and Fred Hersch — was the core New York session ensemble of its moment. Synthesizer programming was handled by Suzanne Ciani, who contributed to all three of CTI's 1979 productions. Neil Dorfsman engineered; Rudy Van Gelder mastered. CTI ran out of funding before the album could be issued in the US, so this 1979 Japanese pressing on King Record Co. Ltd. was the album's only available form until May 1982.\u003c\/p\u003e","brand":"CTI","offers":[{"title":"Default Title","offer_id":43375692906555,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6509.jpg?v=1775127474"},{"product_id":"joe-henderson-page-one-1984-japanese-blue-note-vinyl-lp","title":"Joe Henderson - Page One (1984 Japanese Blue Note Vinyl LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eVG+\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Henderson - \u003cem\u003ePage One\u003c\/em\u003e | Vinyl LP - 1984 Japanese Blue Note Reissue (BNJ71024, The Hits of Blue Note Part 2, Toshiba EMI Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eHenderson's debut as a leader\u003c\/strong\u003e, recorded June 3, 1963 at Van Gelder Studio; Kenny Dorham on trumpet, McCoy Tyner on piano, Butch Warren on bass, Pete La Roca on drums\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"Blue Bossa\" and \"Recorda-Me\"\u003c\/strong\u003e have both become standards and remain among the most played tunes in the hard bop repertoire; all six tracks are originals by either Henderson or Dorham\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e1984 Japanese Blue Note pressing (BNJ71024)\u003c\/strong\u003e, manufactured by Toshiba EMI Ltd.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eKenny Dorham had already done the work before Henderson walked into Van Gelder's studio. He introduced Henderson to Blue Note, put him on \u003cem\u003eUna Mas\u003c\/em\u003e a few weeks earlier, and made sure he got his own session booked for June 1963. He brought along Butch Warren and Pete La Roca, wrote two of the six tunes, played on all of them, and wrote the liner notes. Alfred Lion produced. If \u003cem\u003ePage One\u003c\/em\u003e reads as a debut, it's partly because Dorham designed it that way.\u003c\/p\u003e\n\u003cp\u003eThe two Dorham compositions — \"Blue Bossa\" and \"La Mesha\" — open Side A. \"Blue Bossa\" is the bossa nova-tinged piece that became a jam session permanent fixture almost immediately; \"La Mesha\" is a short, quiet ballad. Henderson wrote the other four: \"Homestretch\" runs hard, \"Recorda-Me\" is his other enduring standard, \"Jinrikisha\" swings hard and \"Out of the Night\" closes on a slow blues crawl. McCoy Tyner appears on all six tracks but couldn't be credited by name on the original cover — he had just signed to Impulse Records, making him contractually off-limits for a Blue Note artist credit. He's listed as \"ETC.\" The Japanese pressing states the situation directly: \"McCoy Tyner performs by courtesy of Impulse Records.\"\u003c\/p\u003e\n\u003cp\u003eHenderson was 26 years old when this was recorded. Dorham described him in the liner notes as \"one of the most musical young saxophonists to show since Charlie Parker.\" This 1984 Japanese pressing is part of \u003cem\u003eThe Hits of Blue Note Part 2\u003c\/em\u003e series, manufactured by Toshiba EMI Ltd., and includes a four-page folded insert with Japanese liner notes and a Henderson Blue Note discography.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43410966544443,"sku":null,"price":170.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6580.jpg?v=1775943066"},{"product_id":"joe-henderson-tetragon-2026-milestone-jazz-dispensary-vinyl-lp","title":"Joe Henderson - Tetragon (2026 Milestone\/Jazz Dispensary Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson Quartets - \u003cem\u003eTetragon\u003c\/em\u003e | Vinyl LP - 2026 Jazz Dispensary Top Shelf Series 180g (CR00968, Kevin Gray\/Cohearent Audio)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOrrin Keepnews signed Joe Henderson to Milestone after Henderson's Blue Note years ended, and \u003cem\u003eTetragon\u003c\/em\u003e was the second album from that relationship. The unusual structure — two separate but sonically related quartets recorded six months apart at the same studio — was Keepnews' idea. He asked Henderson in the liner notes whether the different rhythm sections had changed his playing. Henderson's answer was that Friedman had a more romantic approach, Barron something harder-driving, but that the presence of Ron Carter throughout held both sessions together.\u003c\/p\u003e\n\u003cp\u003eRon Carter plays on all seven tracks and contributed two compositions. \"R.J.\" was named for his son; \"First Trip\" is similarly personal. Henderson wrote \"The Bead Game\" (eight minutes, free, no apparent melody) and the angular title track. \"Invitation\" — by Bronisław Kaper, the Polish-born film composer whose jazz standards have been recorded repeatedly — opens Side A. \"I've Got You Under My Skin\" closes the record. \"Waltz for Zweetie\" (B2) has a credit history: the original pressing attributed it to Walter Bishop Jr. and misspelled the title as \"Sweetie.\" Keepnews later corrected both — the composer is Bishop's father, Walter Bishop Sr., and the dedication is to someone called Zweetie, not Sweetie.\u003c\/p\u003e\n\u003cp\u003eThis is Henderson's first studio recording with Jack DeJohnette — they had performed together but never taped. DeJohnette was twenty-two. The original Milestone MSP 9017 has been out of print on vinyl for more than fifty years. Kevin Gray mastered this edition \u003cmeta charset=\"utf-8\"\u003efrom the original master tapes for the Jazz Dispensary and Craft Recordings' Top Shelf Series; pressing is 180g.\u003c\/p\u003e","brand":"Milestone","offers":[{"title":"Default Title","offer_id":43414519316539,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a1846080134_10.jpg?v=1776067405"},{"product_id":"joe-henderson-feat-alice-coltrane-the-elements-2017-jazz-dispensary-top-shelf-180g-vinyl-lp","title":"Joe Henderson feat. Alice Coltrane - The Elements (2017 Jazz Dispensary Top Shelf 180g Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson feat. Alice Coltrane - \u003cem\u003eThe Elements\u003c\/em\u003e | 180g Vinyl LP - Milestone\/Jazz Dispensary Top Shelf Series (MIL00001)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIf you know Henderson from his Blue Note work (\u003cem\u003eInner Urge\u003c\/em\u003e, \u003cem\u003ePage One\u003c\/em\u003e, \u003cem\u003eIn 'n Out\u003c\/em\u003e), this album may come as a surprise. He signed with Milestone in 1967 and spent the early 1970s experimenting with studio effects, overdubbing and longer, more open-ended compositional forms. \u003cem\u003eThe Elements\u003c\/em\u003e is the furthest he went. \"Fire\" opens the album with Henderson's tenor over Ndugu Leon Chancler's drums and Michael White's violin, Coltrane comping on piano before switching to harp as the piece builds. Henderson's saxophone is processed through effects (reverb and echo layers that thicken his tone into something closer to a synthesiser), and the ensemble builds in density as Nash adds congas, gong, Chinese and African bells and sakara drum. \"Air\" strips the percussion back and lets Coltrane's tamboura create a drone underneath Henderson's flute and alto flute. \"Water\" on side B is the sparest piece, with Nash playing wood flute alongside Henderson. \"Earth\" closes with the fullest ensemble, Chancler returning on drums, White on violin, and Nash narrating a text over the rhythm before Henderson and Coltrane push the music to its most intense passage.\u003c\/p\u003e\n\u003cp\u003eThis was a one-off. Henderson never made another album like it. He returned to more conventional post-bop settings and eventually moved to Verve in the 1990s, where he found mainstream success with \u003cem\u003eLush Life\u003c\/em\u003e and \u003cem\u003eSo Near, So Far\u003c\/em\u003e. \u003cem\u003eThe Elements\u003c\/em\u003e went out of print and stayed there for over four decades.\u003c\/p\u003e\n\u003cp\u003eThis is the first ever vinyl reissue, catalogue number MIL00001, the inaugural release in the Jazz Dispensary Top Shelf Series. Kevin Gray remastered from the original analogue tapes and cut the lacquer at Cohearent Audio. Pressed on 180g vinyl at Quality Record Pressings.\u003c\/p\u003e","brand":"Milestone","offers":[{"title":"Default Title","offer_id":43727179153467,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/JoeHenderson_TheElements_RGB-scaled.jpg?v=1782815103"}],"url":"https:\/\/lushliferecords.com.au\/collections\/joe-henderson.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}