Song For My Father (Live at the Penthouse)

Amazingly, a relatively new release of a live recording of Horace Silver has come to our attention. Featuring the legendary Joe Henderson on sax, there is a rousing rendition of "Song For My Father." Henderson's solo is more sedated than the studio recording, but still fascinating to hear him perform live in Silver's group. Silver also stretches out a bit here, but always with that soulful and funky style. Unfortunately, the group did not perform "The African Queen" or "Tokyo Blues" but other gems from the LPs featuring those songs appear. 

Earth

A classic from Joe Henderson (featuring Alice Coltrane). The song manages to impressively fuse the Indian influences with some funky bass lines for an interesting 13 minutes of music. One cannot go wrong with Charlie Haden on bass.

Afro-Centric

Enjoy an interesting electric jam entitled "Afro-Centric" by Joe Henderson. Considering its epoch, it definitely resonates with the late 1960s and the rising influence of "Afrocentrism" on African Americans of the late 1960s. While certainly funky and a bit ethereal, it does not sound explicitly African" in any overt way. But Herbie Hancock's electric piano noodling is utter delight. 

The Natives Are Restless Tonight

Reading Horace Silver's autobiography has inspired a Silver-themed obsession this week. This means revisiting old Blue Note records by Silver that I have not listened to in several years. "The Natives Are Restless Tonight" is one example of a great Silver tune I have forgotten about. While it is not as memorable as "Song For My Father," it features Joe Henderson and hard-swinging rhythms in that unique Silveresque hard-bop vein. Horace Silver was, without a doubt, the master of hard bop piano with a gift for fusing the genre's bluesy roots with Latin elements. 

I've Got You Under My Skin

Joe Henderson has been one of my favorite saxophonists for several years, but I never knew he recorded one of my favorite Cole Porter numbers! I also highly recommend the Bill Evans/Jim Hall duet for this standard, pure delight.

Pretty Eyes

Jazz waltz with something of the Latin tinge. Horace Silver at his prime, with Joe Henderson on tenor. Cape Verdean Blues is a classic LP of 1960s jazz and hearing Joe Henderson stretch out and start cookin' on my favorite track from the album is priceless. Unfortunately, it lacks the all-encompassing Latin rhythms of the LP, and I can't help but wish Horace's solo wasn't so slow-paced.

Recorda Me

Although I am not a big fan of Chick Corea, his Trilogy with Christian McBride and Brian Blade is one of my favorite recent jazz releases. On Joe Henderson's classic "Recorda Me," Corea lives up to his penchant for Latin jazz quite well. Brian Blade's drumming is spectacular, too, but Corea's ingenious piano solos twist and turn in surprising directions while McBride holds it down on a funky bass. One does not even realize it is just a trio because of the volume and space the trio occupies. Beautiful.

Dexter Gordon on Blue Bossa

Dexter Gordon's take on Joe Henderson's "Blue Bossa" would make the latter proud. 

Pete La Roca's Basra

For those down for some good-time, soul jazz, the Latin-funk of "Candu" shows Henderson, Pete La Roca, and Steve Kuhn at their funky best. "Candu" shows how this album, from 1965, can be free, modal, experimental, engage in balladry as well as keep things rooted in the blues, with the bass solo so clear on Swallow's solo. The eponymous track, "Basra," takes things in a Middle-Eastern and Indian route, named after the ancient trading town in southern Iraq, which, coincidentally, is where the majority of the Afro-Iraqi population dwells. As a modal composition based on one chord and with obvious "Eastern" themes, it is hard not to think of Coltrane's "Ole" or similar work by Yusef Lateef, but this remains uniquely La Roca. The song evokes a snake, twisting and turning as the stereotypical snake charmer controls him. Naturally, Henderson really shines here, showing off some Coltranesque moves while Henderson's mastery of percussion shows off quite well as the droning bass and La Roca provide rhythm. Here one can catch a glimpse of the Joe Henderson who would perform similarly in the 1970s with Alice Coltrane, especially on albums such as Ptah, the El Daoud. La Roca's drum solo works quite well too, utilizing space, Kunh's piano and the bass to avoid overplaying, but responding to the charm that has thus enthralled the snake. The exoticism of the album carries further however, into "La Malaguena," a classical composition by a Cuban composer of the 19th century.

Based on Andalusian music, this is the track that bears the mark of Coltrane's Ole Coltrane more than any other Spanish-themed jazz song. Like "Ole," it is based on Spanish classical music infused with the folk music of Al-Andalus, reflecting gitano, Moorish, Jewish, and other influences from Africa and Europe. The piano riff and driving bass provide a propulsive force with Henderson's soaring saxophone recalling the composition's debts to Spain's Moorish past. Henderson's avant garde leanings show themselves, while La Roca's drumming and Swallow's bass sound reminiscent of "Ole" by Coltrane, especially with Henderson's Coltrane-like blowing. As for Kuhn's piano solo, he does not sound too similar to McCoy Tyner, but frantically echoes the same Moorish influences. The ballad of the album, "Lazy Afternoon," reminds me of a similarly-titled song by the Roots, but does more justice to how a lazy Sunday afternoon feels than they, with sweet tones and a gentle tempo, almost reminiscent of something from Wayne Shorter's Speak No Evil."Tears Come From Heaven" is a quirky, thoughtful tone poem, with a longing theme and spirited drumming by Pete La Roca. As with most of the album, Henderson's improvisational presence establishes this hard-swinging number's post-bop credentials, sounding like contemporary Coltrane and Wayne Shorter, with perhaps a touch of John Gilmore in atonal and bop vocabulary. La Roca's solo also displays dexterity. "Eiderdown," by Swallow, features a contemplative, mid-tempo swing that sounds, well, okay, but nothing in comparison to "Basra" and "La Malaguena" or "Tears Come From Heaven."

Basically, listen to this album if you enjoy avant-garde Joe Henderson, imaginative drumming and compositions, and jazz with Spanish and Middle-Eastern themes often featuring Latin rhythms. Essential for any collection of 1960s Blue Note jazz, and illustrative of Joe Henderson's brilliant output in the 1960s and early 1970s, blending free, modal, atonal, Latin, and other influences from the best of jazz saxophonists in the 1960s. Moreover, the likely influence of Ole Coltrane does not weaken the album's "Basra" nor "La Malaguena." In fact, the unique voice of Henderson, though reminiscent of Coltrane or perhaps John Gilmore and other adventurous musicians of the period, is nonetheless utterly his own. The blasting use of the upper registers, honks, squeaks and other typical sounds of free jazz are not fully part of his repertoire at this stage, so it's a great example of Henderson's playing in this intermediate stage between the free and fusion jazz of the 1970s and his bop roots. Moreover, Kuhn's piano solo on "La Malaguena" is nothing short of beautiful, haunting brilliance like a deluge of sound enveloping the listener while La Roca swings. Who said jazz musicians can't play classical?

Larry Young's Unity

Strong, interesting jazz album featuring Larry Young, Elvin Jones, Joe Henderson, and Woody Shaw. Though I am not usually a fan of electric organs in jazz (though I will throw down to some Jimmy Smith soul-jazz and blues), this cut is far more exploratory and experimental, largely owing to the presence of Jones, Henderson and Woody Shaw, whose contributions build the album. "Softly As in a Morning Sunrise" receives beautiful treatment here, "Zoltan" is nice, slightly 'out there' and features a nice little drum solo from Jones with strong Latin-infused flavor and a quirky head! And Joe Henderson keeps things from getting boring. Alas, the organ does not do justice to "Monk's Dream," unfortunately, despite an interesting drum solo by Jones. Regardless, it's nice to hear Larry Young stretch out beyond soul-jazz and hard bop for some nice, exploratory work. "If" fortunately sweeps in and saves the listener after the interesting attempt at a duo electric organ-drum rendition of "Monk's Dream," but lacks the spirited fire and rhythms of "Zoltan" while "The Moontrane" speeds things up and is a swinging number, with Jones' solo reminding me of his playing on "Africa" with Coltrane. If you want to hear interesting, sometimes funky, sometimes contemplative hard bop with some avant-garde leanings, check this out.

Lee Morgan's Delightfulee

1. "Ca-Lee-So" - 5:34 is a fun, funky and cute track, especially the piano lines. The title, presumably a reference to calypso music, can be heard in the bassline, the head, and the rhythms. Joe Henderson’s well-placed, Caribbean-esque and joyous, upbeat solos are another plus. Definitely an adorable little ditty here, and a highlight on the album. Morever, it’s nice to hear McCoy Tyner’s piano on this Calypso-inflected tune, which can also be clearly seen as a playful tune with the pun (an allusion to Lee’s Christian name) because he is usually associated with the “serious” or spiritual work of Coltrane. Tyner retains his characteristic left hand block chords and right trigger fingers, until the song repeats the joyful theme.

2. "Zambia" - 6:33, despite the title’s allusion to an independent African nation, does not sound very “African.” Thus, though trying to be “Afrocentric” and assert a connection to Africa, something Lee has done with “Mr. Kenyatta” or “Afreaka,” “Zambia,” though featuring some “Latin” influences in Billy Higgins’ drumming, is too standard or stereotypically Morgan. Henderson, however, really flies high on his solo and hints at the post-bop world of the mid-1960s. Higgins also lays down the up-tempo swing hard on this, while Morgan and him play call-and-response for a while. Unfortunately, it sounds too much like “Calling Ms. Khadijah,” a number penned by Morgan for Art Blakey and the Jazz Messengers or even his “Kozo’s Waltz,” also recorded with Blakey.

3. "Yesterday" (Lennon, McCartney) - 5:49 is the worst track on the album, with Morgan and a big band orchestrated by Oliver Nelson endeavoring to do justice to a classic song by the Beatles. Adding a light samba rhythm, the band plays the melody faithfully, but it just does not add up right. It sounds pathetic, almost Churchlike (as in an hymn) and the horn arrangements do not represent the song’s light, earnest hope as well as a very simple, sparse arrangement would. It was a nice attempt, though, and I admire Oliver Nelson’s work, especially The Blues and the Abstract Truth’s “Stolen Moments.”

4. "Sunrise, Sunset" (Bock, Harnick) - 6:17 continues the big band recordings, doing an interesting version of a song from Fiddler on the Roof, which, when compared to “Yesterday,” works well and surpasses the original music. The saxophone solo (sounds like Wayne Shorter?) uniquely carries the song, as well as McCoy Tyner’s lilting, dark-edged piano’s sinister sound. Higgins on the drum carries it well, and Tyner’s piano, once again, and the full band joins in at times where it sounds very much like the arrangements for John Coltrane’s larger band ensembles in Africa/Brass or Ole Coltrane. Perhaps the presence of Tyner and his unique piano stamp of approval is what truly reminds me of Coltrane’s larger ensemble work, though, especially since his solo contains his left hand block chords and soulful, piercing, right. Indeed, this song, actually sounds like a song from Africa/Brass, such as “Greensleeves” or “Song of the Underground Railroad.”

5. "Nite Flite" - 7:38 features the old quintet again, and is a speeding train of jazz. Morgan blows away while Higgins plays a thundering, lightning-fast rhythm that reminds one of Max Roach’s “Freedom Day.” Higgins, however, keeps it from getting boring by adding Latinish touches while Henderson’s solo, appropriately fast and post-bop, adds some soul and hints at his later avant-garde, free jazz work. Tyner’s contemplative, spirited solo, so typical of his beautiful, one in a kind style, adds a complex layer of soul to the composition. He keeps it from getting old by throwing multitextured arpeggios and sounds with strong, hectic rhythms supplied by Higgins. As the title suggests, night is indeed flying by in this interesting, post-bop Morgan tune.

6. "The Delightful Deggie" - 6:38, the last of the quintet recordings on this release, is a deep, mid-tempo number recalling a once delightful, merry time. Henderson once again steals the show, with his solo, at one point sounding like “Haitian Fight Song,” plays around the waltz-like atmosphere of good times once had. Tyner brings in the blues, just as he so ardently accomplished with in various spellbinding renditions of Coltrane’s “Spiritual,” also a somber piece reflecting sadness, inner resolve, and spirit. Thus, despite leaning toward modal and avant-garde, Tyner never loses his grasp the blues, showing off his experience and talent by infusing the somber track with a touch of the blues. The number ends on a high note, with repetition of the deep theme of

7. "Need I?" - 7:11 Bonus track on CD is very boppish, recorded with the big band, although lacking the complexity and depth of the previous track, so it’s not a very smooth transition. It’s nice though, especially with Shorter on saxophone playing in the hard bop style he perfected under the tutelage of Art Blakey’s Jazz Messengers. Though never cooking as much as he did in, say, “Dat Dere,” him and Morgan keep things going with unnecessary accompaniment from the large ensemble’s additional horns. In my humble opinion, this would be one song better left out of the album or just recorded with the quintet. Philly Joe Jones does get some momentary shine for his drumming solos, though, as well as Tyner, going on a bluesy, beautiful romp.

8. "Filet of Soul (aka Hoppin' John)" - 8:30, another bonus track, sounds too much like an Oliver Nelson song with an additional slice of soul. In some ways, it’s very characteristic of Morgan’s work, since Blue Note was always pressuring him to compose funky soul-jazz and bop numbers that could be another hit after the amazing success of “The Sidewinder.” Shorter, per usual, slows things down and, with his introspective solo, retains the blues, adding in some short-lived howls and retained notes for the necessary bluesy element. The drummer, Jones, like Blakey does on similar recordings, keeps things flowing well, especially while Morgan takes over for his soulful solo. This minor blues theme, exemplified by Tyner’s accompaniment, sounds similar to some of Morgan’s blues-oriented outings with the Jazz Messengers until Tyner improvises pensive, reflective riffs layered with age or depth suggesting ancient sources. Alas, the big band arrangement detracts from what could have been a great song, with flutes and other horns until the bassist’s solo, which is middling, until the song ends, sounding somewhat, once again, like an Oliver Nelson number from The Blues and the Abstract Truth.

9. "Zambia" [Big Band Version] - 8:01 tries and succeeds to emulate the post-bop, “Kozo’s Waltz”-like delight of “Zambia.” Though the horns bring more textural layers of sound, and Shorter’s saxophone voice differs significantly from Henderson, using honking, almost atonal moments to express a post-bop soul, Morgan’s soloing phenomenal, and Tyner thoughtful. Jones, whose well-executed rhythmic fits of fancy, are well-placed, though hardly “Zambian” or “African” in sound, except for the Afro-Latin solo, actually make the song more stereotypically “African” than the quintet recording. It ends well though, with the additional horns providing a nice call-and-response to the soloists' exploration of the them, which is, in a sense, very African. 

10. "The Delightful Deggie" [Big Band Version], the final track, sounds much like the quintet version with annoying additional horn arrangements that, for me, distract from the melancholic tone poem. Tyner, who solos first, fortunately saves us, as well as Morgan. The drumming seems too loud, however, with Jones using too much forceful swing whereas Higgins, who could cook and swing just as hard, was better able to temper himself and let go. Once again, with Tyner, things turn out okay and Shorter makes everything okay in the end. Nevertheless, the big-band recording, like most of the other big-band renditions, pale in comparison to the quintet recordings, although none as much as “Yesterday.”

Joe Henderson's Caribbean Fire Dance

Joe Henderson’s “Caribbean Fire Dance” from Mode for Joe is a rousing Walton number, with a mesmerizing ostinato, propulsive Afro-Caribbean rhythms provided by Joe Chambers and perfect piano vamp from Walton, expressing the song’s debt to especially Cuban music. Bobby Hutcherson’s finely executed vibes add to the haunting quality of a song that perfectly captures the mood of Caribbean peoples dancing to a fire in a pitch-black night, perhaps for some “Vodou” or other African-influenced religious ceremony. Chamber’s drumming is, however, what makes the song, as well as Lee Morgan and Curtis Fuller blowing away on trumpet and trombone respectively. Hutcherson’s vibes expertly solo alongside the main piano vamp and Chambers’ funky, polyrhythmic drumming. Later, with the horn section blowing, Chambers plays a game of call-and-response with his solo, reminding one of Max Roach’s melodic, voice-like solo on Sonny Rollins’ “St. Thomas,” itself based on an old calypso song. Did I neglect to mention Henderson’s initial rousing solo, emulating the winding turns of song’s theme? Overall, Morgan builds this song, screaming through his horn an exhortation to the African spirits of ancestors while Chambers keeps the rhythm going strong, playing his drums like one does with Caribbean hand percussions in terms of tone. Undoubtedly one of the best Latin Jazz songs out there, I give this 5 stars.

A live rendition of the tune from Henderson's At the Lighthouse maintains the fiery spirit of the original with added liveliness to the drums and more free, or nearly free, soloing. The electric piano actually reinforces the tune's darkness, while the exciting, nearly Spanish-sounding horn solos rearticulate the song's debts to the Afro-Caribbean and Spanish roots of the Caribbean.

The Cape Verdean Blues

 

 

1.“The Cape Verdean Blues,” the title track of the album, alludes to Horace Silver’s Cape Verdean roots through his father. The song fuses blues with Latin-inflected rhythms, something not unusual for Horace Silver’s work, although it probably does not really reflect any Cape Verdean musical influences. Perhaps due to Cape Verdean music’s similarities with African-derived music from Latin America and its own Creole culture, Silver could simply transfer Afro-Caribbean and Afro-Brazilian rhythms to the album, which is what he did for “Song for My Father,” using a bossa nova beat with blues melodic influences.  Joe Henderson’s saxophone blows away on this track, carrying the listener to great delights while imagining Cape Verdean’s engaged in brisk, sensual dance. The percussionists’ propulsive rhythm keeps it track going while Henderson blows in ecstasy in almost “Middle-Eastern” styled howls, which could allude to the Iberian influences in Cape Verde from centuries of Portuguese rule. The combination of Afro-Latin and African American-derived blues structure works well here, although it would have been better had the percussionists been given a chance to solo.

2. “The African Queen” is Silver’s tribute to Black women. A dark, exotic composition with quasi-samba percussive effects added to the light swing from Humphries, this track once again relies on Joe Henderson’s post-bop leaning, raw saxophone blowing. He sounds like his later work in the 1960s, veering toward avant-guard and post-bop sounds representative of his best work. Shaw’s subsequent trumpet solo is also quite stirring, almost evocative of ancient Moorish trumpet fare, which, as mentioned previously, is part of Cape Verdean musical heritage from centuries of Moorish rule in the Iberian Peninsula. Silver’s piano solo takes some bluesy detours while also keeping up with the more progressive dissonances and explorations of Henderson. Humphries drumming is on point throughout the song, becoming explosive when needed toward the song’s end, though soloing lightly and maintaining an “African” ethos prevalent in 1960s Afrocentric jazz. “The African Queen” is truly a phenomenal number from Silver.

3. “Pretty Eyes” features a more typical Silver head, with slight turns, a mid-tempo beat, and an almost waltz-like quality to my ignorant ears. Either way, Silver’s talent for writing catchy heads comes off quite well, and I cannot help but think this song likely influenced the Japanese composer of music for one of the Final Fantasy videogames. Per usual, Henderson is the real star here, playing in the bop mould while also open to extending his range and raw, earthy tone across the searching, melodic comping from Silver. Then, he tops it with more exhilarating blowing until Shaw’s trumpet takes over, playing a mixture of soft, light improvisation with moments of fast, accompaniment from Humphries on drums. Once Silver takes over, his left-hand accompanies his right’s higher-pitched fingers to accentuate the composition’s head. It concludes with the same lilting, almost ominous beginning, suggestive of dark, elusive Cape Verdean eyes while retaining the bluesy hard-bop sound in the horns, characteristic of Silver’s brand of jazz.

4. “Nutville” is the first song on the album’s second half, when trombone player J.J. Johnson joins the recording session. A swinging number with frenetic bass action, begins with Johnson’s soulful trombone soloing. Shaw’s trumpet follows, keeping up with the song’s fast pace and Latin-inflected beats, which sounds like Humphries is enjoying himself, almost sounding like Elvin Jones. Henderson reigns supreme in his scorching, fast blowing, almost sounding like a fire alarm with his appropriate honking quality. Silver’s contemplative solo somehow meshes well with the song’s solo, before taking a bluesy, bop-quality typical of most of his work. Used to swinging hard with Latin touches, Silver is in his element, playing within his old style while open to influences from Henderson and Shaw. Humphries, on the other hand, concludes the soloing with poly rhythmic wonders, sounding like Elvin Jones, Coltrane’s drummer who so perfectly fused Afro-Caribbean and swing rhythms, though for too brief a moment. The bassist maintains his ostinato-like foundation throughout, further exemplifying the song’s debts to Latin music.

5. “Bonita,” Spanish for pretty, begins with a simple bass foundation, an almost orchestral-like horn arrangement, and Afro-Latin drumming. With such a small group, Silver produces the sound of a big band but the horn arrangement’s melancholic sound suggests loss, perhaps of the “bonita” Cape Verdean? Silver leads first, with a funky, bluesy solo rooted in hard bop with aptly timed, thunderous drumming accompaniment by Humphries. Despite giving into blues delight at times, Silver’s adept fingers do some soul searching, piercing through the superficial with dark, enigmatic lines. Afterward, Henderson begins, inevitably turning the song into something post-bop, running through streams of notes and adding vibrato. My favorite part, however, must be J.J. Johnson’s solo, beginning with a quote from the spiritual, “Wade in the Water,” an unexpected treat in this thoughtful homage to beauty. Later, Shaw’s trumpet solo, though nice and well-played, lacks any additional spirit or strength for the composition.

6. “Mo’Joe,” the final song, is a Henderson-penned tune out of character with the rest of the album. Lacking the album’s Latin and “exotic” Cape Verdean or African allusions, this is straight hard bop as Silver composed himself in the 1950s. The horns dominate the track here, with fun, exciting directions in their solos, especially Henderson, who blows away everyone away. Silver, clearly in his element, lays down some soulful funky, catchy riffing while Cranshaw on bass finally gets some all-too brief solo time. Although uncharacteristic for the album’s title and the rest of the songs, “Mo’Joe” is an acceptable end to the album.

McCoy Tyner's Best Piano Work

Here are some of my favorite songs featuring the great Philadelphia-raised jazz pianist I saw perform at in high school. I wish I was into jazz back then, so I would have a much better recollection of Tyner's amazing performance. Anywho, here are some of my favorite recorded moments featuring his unique piano voice.

Ole  from Ole Coltrane

Juju from Wayne Shorter's Juju

Spiritual (Coltrane)

Dahomey Dance 

Aisha

Africa

My Favorite Things

Greensleeves

Impressions

Afro Blue

Deluge 

Mahjong

Resolution (A Love Supreme)

Pursuance

Passion Dance

Contemplation

Blues on the Corner

Ebony Queen

Liberia

Dear Lord

Verse

Una Muy Bonita

8/4 Beat

El Barrio

House of Jade

Crisis

Mr. Knight

India

Brazilia, parts 1 and 2

Central Park West

Naima

Isotope

Equinox

Syeeda's Song Flute

Mr. P.C.