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"Nutville" - Joe Henderson's Tenor Saxophone Solo Transcribed

6/25/2022

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"Nutville"
Joe Henderson's Tenor Saxophone Solo Transcribed

© Maurice Stern. All Rights ReservedDrawing courtesy of mauricestern.org. Click pic for more info.
Horace Silver's classic, "Nutville" was recorded on Oct. 22nd, 1965 and released as part of his Blue Note album, "The Cape Verdean Blues".

Along with Silver on piano, the hall-of-fame lineup included Joe Henderson on tenor saxophone, Woody Shaw - trumpet, J. J. Johnson - trombone, with Bob Cranshaw and Roger Humphries - bass and drums, respectively.

While the solos by Shaw and Johnson have often been the subject of study, Henderson's brief 4-chorus improvisation is the focus here. Being a tenor player myself, I guess I've always been a little nuts on the subject of Joe.



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Joe Henderson's Tenor Solo on "You Know I Care" - A Transcription

11/25/2021

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Joe Henderson's Tenor Solo
"You Know I Care" - A Jazz Ballad Transcription

Picture
"You Know I Care", is a masterpiece of a composition by the prolific composer / pianist / arranger,  Columbus Calvin "Duke" Pearson, jr  and is possibly the most representative original ballad of the 1960s Blue Note period.

As the ballad feature on Joe Henderson's classic "Inner Urge" album, it was recorded on November 30, 1964 - nine days before John Coltrane recorded "A Love Supreme" - with pianist McCoy Tyner and drummer Elvin Jones (each a member of Coltrane's classic quartet and icons themselves) on both sessions.

Almost six months later, Pearson recorded his own version of "You Know I Care" as a 6-horn arrangement, but Henderson's quartet recording is the definitive version, as his tenor solo as well as the rhythm section, breathes additional life, dimension and drama into an already singular ballad composition.



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Bluesitudes - One Dozen 12-Bar Blues Etudes With Attitude

8/28/2019

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Bluesitudes! One Dozen 12-Bar Blues
Etudes With Attitude!

Picture
The 12-Bar Blues form is probably the most recognizable song form across all styles of popular and world music.

Its organic simplicity and malleability has made it accessible not only to musical artists of all genres, but to the listening public, as well.

While the earlier Shortbook
™ “Blues Deep: Fifty” focused primarily on the phraseology of the original, primal Blues, as well as the construction of the so called “Blues Scale” and it's relationship to (and result of) the natural overtone series, “Bluesitudes” attempts to demonstrate, from a harmonic point of view, just a few of the modifications to the standard 12-bar Blues form which, over the years, have come into play.


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Yellin on Henderson: A Candid Interview With Saxophonist Pete Yellin

6/20/2017

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Yellin on Henderson:
A candid interview with saxophonist Pete Yellin

PicturePete 'n' Joe
I feel very fortunate to have come across this interview, conducted in 2001, with the late alto saxophonist and long time fixture on the New York scene, Pete Yellin; courtesy of Canadian saxophonist / educator, Sundar Viswanathan, who is currently an Associate Professor of Jazz at York University in Toronto,  and posted here with his permission.

Sundar, then a doctoral candidate at NYU, interviewed Pete as part of his 540 page dissertation, bearing the title "An Analysis of the Jazz Improvisation and Composition in Selected Works From the Blue Note Records Period of Tenor Saxophonist Joe Henderson from 1963-1966", leaving no doubt as to who, what and when, and which he was most generous to have shared with me recently.

The main subject and focus of the interview is, of course, none other than tenor saxophone titan Joe Henderson,  with whom Yellin had a long friendship and musical relationship, dating back to the early 1960's.


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JoHen Tunes Up "Night & Day" - Joe Henderson's Reharm & Solo Transcription

2/10/2016

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JoHen Tunes Up "Night & Day"
Joe Henderson's Reharmonization and Solo Transcription

PictureJoe Henderson w/ Horace Silver in France- July, 1964
Joe Henderson's tenor saxophone solo on his reharmonized version of Cole Porter's "Night & Day" (downloadable transcription below), was recorded for the Blue Note label at Rudy Van Gelder's studio (where else!) in Engewood Cliffs, NJ on Nov. 30th, 1964, ten days before John Coltrane recorded "A Love Supreme" in the same studio.

"Night & Day" would be the final track on the "B" side of the original vinyl LP "Inner Urge", Henderson's fourth as a leader for Blue Note; and featured then current Coltrane Quartet members McCoy Tyner and Elvin Jones on piano and drums respectively; as well as Bob Cranshaw, who was pretty much Blue Note's house bassist at the time
.

The album "Inner Urge" was titled after the now classic Henderson original and the subject of an earlier post. Both the tune and the album are iconic examples of '60's compositional, harmonic and improvisational innovations.



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Granted! - A Joe Henderson Solo Transcription

12/2/2014

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Granted! - A Joe Henderson Solo Transcription

It's Joe Henderson time again, ladies and gents!
Picture"Happiness is Just a Thing Called (hearing a guy named) Joe"
Joe, as you should know, was one of the music's more stylistically unique and influential tenor saxophonists and improvisers, as well as the composer of a healthy number of classic originals.

His influence and legacy live on in his many recordings, made both as leader and sideman, during a career which spanned nearly four decades.

Henderson's tenor saxophone solo on one of those original compositions, an uptempo C Minor Blues entitled "Granted" (dedicated to the renowned NYC Jazz Radio personality and promoter, Alan Grant, who recently passed away at 93), is the subject of this post and downloadable transcription.

"Granted" was recorded by Rudy Van Gelder on January 27th, 1966 (which happened to be the 25th birthday of the session's vibraphonist, Bobby Hutcherson) and was part of the session that produced Henderson's fifth and last studio album as a leader for the Blue Note label, "Mode for Joe".

At the time of the recording, Joe Henderson was a member of pianist Horace Silver's quintet, which also included a young Woody Shaw on trumpet. Henderson had joined Silver's group in June, 1964 and would remain with the pianist for just another two-plus months.


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Joe Henderson's "Black Narcissus" - The Last Eight

10/15/2014

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Joe Henderson's
"Black Narcissus" - The Last Eight

Picture
Joe Henderson's "Black Narcissus" is a delicate jazz waltz and one of the legendary tenor saxophonist / composer's better known compositions.

Originally recorded on May 29, 1969 and released as part of Henderson's album "Power to the People" (which included Herbie Hancock, Ron Carter and Jack De Johnette) on the Milestone label, Joe recorded it several times subsequently. That includes the 1974 version, recorded in Paris and featured on the album of the same name.

It has since been covered by many by other artists.


Although completely different
in emotional intent, scope and style, "Black Narcissus" has striking similarities in compositional structure, as well as harmonic usage, to another one of Henderson's classics, and the subject of an earlier post; namely, "Inner Urge".


I had heard different versions of "Black Narcissus" for years before actually trying to learn it myself. At that point, I realized that this simple sounding tune necessitated some closer scrutiny; especially after hearing many improvisers trying to "ramrod" their way through the last eight measure, "B" section of the tune.


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Joe Henderson's "Inner Urge" - The Last Eight

5/1/2014

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Joe Henderson's "Inner Urge" - The Last Eight

PictureSmokin' Joseph
I've been wanting to post something on the subject of Joe Henderson for a while now.

Joe Henderson, as quiet as it's been kept, is not only one of the greatest tenor saxophonists of the musical genre we know and love as "Jazz", but one of it's most prolific composers, as well as one of it's truly unique and creative improvisational voices.


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