Requisites
Inner Urge ~ Joe Henderson | By Eddie Carter
Superb artistry is the name of the game whenever one listens to the music of Joe Henderson. A proficiently skilled bandleader, composer, and tenor saxophonist who made some of his most important jazz contributions as a leader and sideman recording for Blue Note from 1963 to 1968. The subject of this morning’s discussion is his 1965 album, Inner Urge (BLP 4189/BST 84189). Here, he leads an outstanding quartet session with McCoy Tyner on piano, Bob Cranshaw on bass, and Elvin Jones on drums. My copy used in this report is the 2019 Music Matters Jazz SRX Stereo reissue (MMBST-84189).
The album opens with Inner Urge, a swiftly paced composition that cooks from the first notes of the melody. The walloping tones of Cranshaw’s bass start the soloing with an impressive presentation. The leader charges into the next reading enthusiastically. Tyner takes no prisoners as he slices through the third solo vigorously. Jones shows off his musical gifts with a breathless dash, then Henderson adds a few more soulful explorations preceding the song’s climax.
Isotope is a lightly swinging blues by the saxophonist paying a compliment to pianist Thelonious Monk and the humor in his music. The quartet begins with a distinctive angularity as Joe leads them on the theme. Henderson’s opening solo is excitingly direct and incisive. McCoy illustrates his ability to swing with lots of energy next, then Elvin puts together a remarkable performance for the finale, exchanging sprightly thoughts with Joe into the reprise and ending.
El Barrio, Henderson’s third original starts Side Two with the distinguished character of a Spanish influence due to him growing up in an international neighborhood in Lima, Ohio. Utilizing two chords, B major and C major 7 with a Flamenco flavor to build the melody, Joe makes one of his most adventurous, personal statements through a rich palette of colors and moods on the unaccompanied introduction and lead solo. McCoy draws the listener into the magical rapport of the trio on the next interpretation with a noteworthy performance capturing the breathtaking beauty of the tune with uncompromising honesty.
You Know I Care is a very pretty ballad by Duke Pearson. The composer recorded the song two years later on the album, Honeybuns. The quartet introduces the song elegantly. Joe begins the opening solo with a quiet fire exhibiting a great deal of passion. McCoy follows with a short solo that’s incisive, subtle, and very easy on the ear thanks to the tender warmth of Bob’s bass and Elvin’s delicate command of the brushes. The album ends on an upbeat note with Night and Day, the 1932 jazz standard by Cole Porter. It’s one of his most recorded songs and made its debut in the Broadway musical, Gay Divorce. The quartet’s brisk melody puts the listener in a happy frame of mind, riding down the highway on a warm sunny day with the top down and music rocking. Henderson steps up first with a scintillating solo of dynamic energy. Tyner follows, keeping things moving with a convincing workout on the piano. Joe wraps up the album with a few more sweet sounds into a swinging fadeout and fitting end to this very satisfying album.
The remastering of Rudy Van Gelder’s original analog tapes was done by Kevin Gray and Ron Rambach at Cohearant Audio, and the reissue was pressed at Record Technologies, Inc. Their work here is an amazing sit-down and listening experience with a wide soundstage that’s accurately recreated throughout the treble, midrange, and bass. If you’re a fan of Joe Henderson, Post-Bop or Modal Jazz, and don’t already own an original Mono or Stereo LP, or Liberty reissue, I submit for your consideration the SRX 33 1/3 LP of Inner Urge by Joe Henderson. It’s a delightful album of straight-ahead jazz at its best by one of the quintessential tenor men, and a title that would be a great addition to any LP library!
~ Honeybuns (Atlantic 3002/SD 3002) – Source: Discogs.com
~ Night and Day – JazzStandards.com, Wikipedia.org
© 2020 by Edward Thomas Carter
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