Steve Wyzard If you're a Joe Henderson fan, his 1980 (re-released twice since) trio album Barcelona can be recommended but with one caveat. Let it be known this album is nothing like the string of tribute albums he released in the 1990's that resurrected his career. While casual listeners might immediately dismiss it as avant-garde, Barcelona is actually an improvisatory, exploratory statement that might best be described as THORNY. Simultaneously, it is also an experiment in minimalism (just sax/bass/drums), yet one that will repay repeated listening, especially for those who are already familiar with Joe's style.

The 28-minute title track is divided into two parts (to accommodate its original pressing on vinyl) and was recorded at Wichita State University in 1977. It opens with a long, occasionally abrasive duet between Henderson and bassist Wayne Darling, who arco playing summons a Vitous-like fury. Drummer Ed Soph soon joins in, and this sprawling track moves through a variety of moods, including a very rhythmic section at the 13-minute mark. Part 2 is fast and ferocious, and includes Soph's solo. The audience seems mesmerized until the very end, and occasionally Joe will stray from his mike, but otherwise the sound is good for a not-very-high-profile live recording.

The album's other two tracks, "Mediterranean Sun" and "Y Yo La Quiero" both run about five minutes each, and are much more accessible. Recorded in a German studio in 1978, these showcase Joe at his minimalistic best: no drums, just Joe's wonderful soloing backed by Darling's bass.

Once again, this album is definitely not for first-timers, nor is it background music. The extended title track may be rough going at first, but speaking for Joe's fans we can be thankful these dates were saved for posterity. Free? No, it might set you back a bit (especially if you're looking for the original cover with Gaudi's architecture), but well worth the time and effort spent tracking it down. Every time I listen to this album, I like it more.

Sean Trane From Henderson’s Milestones discography, there is little doubt that his most adventurous album is the one he made with Alice Coltrane - for which he’s played on her Daoud album – and there is little doubt about its nature when seeing the album and track titles. Apparently, while reaching the mid-70’s, Henderson went spiritual, and maybe a bit psychedelic. The line-up is quite a stellar one, not only featuring the headlining Alice & Joe, but the afore-mentioned Haden and Leon Chancler, though lesser-known Michael White on violin, Ken Nash on percussion (and the odd flute and spoken text and Indian percussionist Oshun complete the roster.

The mood is explorative and modal throughout the four elements , and much of the exotic feel is given via Alice’s usual tambura, harmonium and harp, but Nash and Oshun’s percussions give the whole thing a very worldly sonic aura, but it is White’s violin that add that extra touch of originality. The opening 11-mins Fire is a fast-paced affair, and probably the most standard affair on the album, despite the presence of the harp and violin. The following 10-mins Air is a much more reflective mood sometimes bordering on the dissonant, but it’s got Trane’s shadow all over it. Over the flipside, the 7-mins+ Water is the most eastern piece, because Alice’s tambura sets the tome from note 1, and despite the slight dissonance, Haden strikes a variant of the ALS bass line. The closing 13-mins Earth is the slowest-paced and most-modal piece of the album, but also the most psychedelic and hypnotic and features a soft-spoken chant.

If Columbia has developed into the 70’s master label (and my personal fave) of JR/F, Milestones is certainly not far behind in a slightly different genre of fusion and sometimes strikes me the successor of the Impulse label of the 60’s. Of course, Alice’s presence on Elements gave the album an edge that no other Henderson wax slice could compete with in this writer’s opinion.

Sean Trane By the time Canyon Lady was out, Henderson was now fully in the 70’s, and his Milestones label albums were clearly attesting this. Of course, JH’s move away from the Big Apple proved to be a breath of fresh air, but it also allowed him to renew his supporting cast, thus the appearance of George Duke, Eric Gravatt or conga-man Aguabella, but most importantly pianist Marl Levine, who would compose the two tracks on the flipside of Canyon, the first even giving the album its name.

The opening Tres Palabra offers a slightly Latin conversation with a small Gil Evans-type of big band. Henderson’s only composition on the album is certainly the highlight of the album as Las Palmas features some red-hot steamy fusion that started very softly and settles into a bedevilled groove. Over the flipside, the title track is a mid-tempo filled with congallero (yup, I like to make up some names too) rhythms with George Duke’s excellent Rhodes tapestry as a woven sonic fabric. The closing All Things Considered is more or less in the same line, thus inducing a certain déjà-entendu (without Duke, though), though Aguabella’s conga solo (possibly a duet with Pantoja) will certainly dispel that feeling.

With this kind of album, Henderson moved in the proximity of his label-mate Tyner (though masterpieces like Sahara were still rather unreachable), and he would even go on to better things with Multiple. While purist will hail his 60’s works on Blue Note (like Mode For Joe), this fusionhead will likely go with Henderson’s Milestones era.

Sean Trane Just like Mode For Joe is considered by many Joe’s best work in the 60’s, many think the same for Multiple for the next decade. Not much in common between the two (outside Joe himself, of course), but the latter was released in early 73 on the great Orin Keepnews-run label Milestones. Of course, like many others 60’s icons, by this time Henderson had also veered towards fusion, and this is a very convincing shot in that particular genre. Of course names like Larry Wallis or James Ulmer are instrumental (sort of speak, because some tracks are not)

Opening on the 10-mins+ magnum opus Tress-Cun-Deo-La, the fusion modal tone is set right from the first notes, and Joe’s dubbed vocals are surprisingly good. Wallis’ Rhodes is a major ingredient for the melting pot fusion, but Holland and DeJohnette’s contributions are definitely spicing the stew as well, though the much-quieter 11-mins sensual but too-lengthy Bwaata (JDJ’s composition) is giving it a sweet aftertaste as well.

On the flipside, Joe sings again (well he “chants”, really) in Song For Sinners, and just like in the Tress track, he invites a guitarist (this time John Thomas) and we find the modal trance once again. Holland’s Turned Around has a hard time living up to its predecessor’s spellbinding powers, but its much funkier nature compensates easily in energy what it lacks in finesse. The closing Among Others is offering a fairly dissonant soundscape over a pedestrian bass, but Wallis’ Rhodes smokes and soars in the stratosphere.

A magnificent album with no flaws (except the occasional length) where Henderson shows everyone that he’s still a force to be reckoned with in the 70’s. Obviously, his brief encounter with Blood Sweat & Tears left an indelible mark on him, while Wallis would join that very same combo after this album. You won’t find much better a JR/F album recorded during that decade.

Sean Trane Reputedly Henderson’s best 60’s album, Mode For Joe is your typical Blue Note label product with a flawless RVG and Alfred Lion production, and a no-less sparkling line-up that features Hutcherson, Walton, Carter and Chambers, not mentioning his two Detroit youth-buddies Morgan and Fuller.

Opening on the rather hard-boppy Shade For Jade, the very essence of the BN label appears in its splendour, but the three windmen (sax, trumpet & trombone) make for killer brass section with enthralling chorus lines. The ensuing title track features Hutcherson’s vibes, but past Henderson’s sax jump, it’s Walton’s piano that leads the dance (it’s his composition after all), until Bobby’s sensual solo hits the bull’s-eye. Walton’s Black piece closes the A-side with brio. The flipside’s Caribbean-rhythmed start soon gives into a demented slightly modal and transient mid-section, with Morgan and Chambers rising above the others. Granted is an high-energy bop piece, but fails to raise as much enthousiasm as its predecessor… or its follow-up. Indeed, Free-Wheelin’ has a loose mid-section where the solos are unleashed.

The slightest (but only) itch I might have with MFJ, is that the Cd version of this album features an alternate take of Waldon’s Black track, but it makes the mistake to intervene in the original album’s course. It’s always wiser to place these after the album, especially if the two versions are too similar.