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Mike Lawrence

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22
Album Review

Joe Henderson: Power to the People

Read "Power to the People" reviewed by C. Andrew Hovan


Beginning with 1963's Page One, Joe Henderson led a series of five albums for the Blue Note label that firmly established his reputation as a unique and budding artist with something vital to say. He was one of many artists at that time who utilized his Blue Note contract to document his every move while establishing his creative muse during this process. Trumpeter Kenny Dorham would be a major factor in the success of his first few sessions, with drummer ...

6
Liner Notes

Larry Coryell: Improvisations: Best of the Vanguard Years

Read "Larry Coryell: Improvisations: Best of the Vanguard Years" reviewed by Josef Woodard


There have been many smoother operators in the world of jazz guitar than Larry Coryell, the brainy rough rider who was a natural-born fusioneer, in the best sense. There have been cleaner technicians on the instrument, with a more lucid sense of identity and careers that have followed a logical, rolling landscape. But not many have quite attained Coryell's strange, madly eclectic state of grace: into music he came, he saw and heard things not yet articulated, he conquered on ...

296
Album Review

Joe Henderson: Power to the People

Read "Power to the People" reviewed by Tom Greenland


Joe Henderson enjoyed widespread popularity only late in his career, when his cover albums for Verve achieved high (for jazz) sales figures, but since the early '60s he had been making excellent records, both as a sideman and a leader. Here at last is 1969's Power to the People, one of his best recordings made for Orrin Keepnews' Milestone label, previously available only as part of the boxed set The Milestone Years. Power to the People features ...

385
Album Review

Joe Henderson: Power To the People

Read "Power To the People" reviewed by David Rickert


The late sixties were an exciting time for jazz, although not a lucrative one. Faced with a declining market share due to the popularity of rock music, jazz musicians were forced to find an audience by pursuing new avenues in composition and instrumentation. Joe Henderson, a much beloved player for the Blue Note label was dropped in the late sixties. Orrin Keepnews, who certainly could recognize great talent when he saw it, signed him to his newly ...

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