Martin Johnson

Henderson is one of the greats of the post-war tenor saxophone, but in the mid-60s, he's the youngest member of that crowd. You can hear John Coltrane's thunderous emotions, Sonny Rollins' lean passion for playful melody, and Wayne Shorter's naughty complexity. Henderson synthesized these influences into a unique sound.

Henderson is one of the greats of the post-war tenor saxophone, but in the mid-60s, he's the youngest member of that crowd. You can hear John Coltrane's thunderous emotions, Sonny Rollins' lean passion for playful melody, and Wayne Shorter's naughty complexity. Henderson synthesized these influences into a unique sound.

When paired with Tyner, who had recently completed a five-year stint with Coltrane, he found the perfect foil. Hear how the pianist stops framing the sax solo and pushes Henderson on in and out. By 1966, Tyner had redefined the role of the pianist as an accompanist, and that shines in this concert. But he also asserts a tender facility with ballads.

When paired with Tyner, who had recently completed a five-year stint with Coltrane, he found the perfect foil. Hear how the pianist stops framing the sax solo and pushes Henderson on in and out. By 1966, Tyner had redefined the role of the pianist as an accompanist, and that shines in this concert. But he also asserts a tender facility with ballads.

When paired with Tyner, who had recently completed a five-year stint with Coltrane, he found the perfect foil. Hear how the pianist stops framing the sax solo and pushes Henderson on in and out. By 1966, Tyner had redefined the role of the pianist as an accompanist, and that shines in this concert. But he also asserts a tender facility with ballads.

On We'll Be Together Again, he poignantly captures the sense of longing.

On We'll Be Together Again, he poignantly captures the sense of longing.

On We'll Be Together Again, he poignantly captures the sense of longing.

shows mainstream jazz incorporating the open structures proposed by the avant-garde wing while remaining in a straight-ahead vein. The up-tempo tunes are urgent and forceful. It's like the change from a comfortable drive in the city to a skittering race on a country road. ¦ That's the tune taking off. The recording features an ace rhythm section.

shows mainstream jazz incorporating the open structures proposed by the avant-garde wing while remaining in a straight-ahead vein. The up-tempo tunes are urgent and forceful. It's like the change from a comfortable drive in the city to a skittering race on a country road. ¦ That's the tune taking off. The recording features an ace rhythm section.

shows mainstream jazz incorporating the open structures proposed by the avant-garde wing while remaining in a straight-ahead vein. The up-tempo tunes are urgent and forceful. It's like the change from a comfortable drive in the city to a skittering race on a country road. ¦ That's the tune taking off. The recording features an ace rhythm section.

Bassist Henry Grimes, who was better known for his work with Free Jazz Stallwords, and drummer Jack Dijonet. And it's the drummer who's responsible for the recording's existence. He had an engineer tape the event, and it was in his home archive. He rediscovered it a few years ago and set plans in motion for the release. Dijonet is only 23 years old here.

Bassist Henry Grimes, who was better known for his work with Free Jazz Stallwords, and drummer Jack Dijonet. And it's the drummer who's responsible for the recording's existence. He had an engineer tape the event, and it was in his home archive. He rediscovered it a few years ago and set plans in motion for the release. Dijonet is only 23 years old here.

Bassist Henry Grimes, who was better known for his work with Free Jazz Stallwords, and drummer Jack Dijonet. And it's the drummer who's responsible for the recording's existence. He had an engineer tape the event, and it was in his home archive. He rediscovered it a few years ago and set plans in motion for the release. Dijonet is only 23 years old here.

and still very much in the throes of contemporary greats like Coltrane drummer Elvin Jones, but you can hear a distinctive voice emerging on these tracks. He would go on to play with Miles Davis, Keith Jarrett, and build a formidable discography as a leader. Here's The Believer. The music here is a prelude to iconic records by each leader.

and still very much in the throes of contemporary greats like Coltrane drummer Elvin Jones, but you can hear a distinctive voice emerging on these tracks. He would go on to play with Miles Davis, Keith Jarrett, and build a formidable discography as a leader. Here's The Believer. The music here is a prelude to iconic records by each leader.

and still very much in the throes of contemporary greats like Coltrane drummer Elvin Jones, but you can hear a distinctive voice emerging on these tracks. He would go on to play with Miles Davis, Keith Jarrett, and build a formidable discography as a leader. Here's The Believer. The music here is a prelude to iconic records by each leader.

A few months after the concert, Joe Henderson recorded Mode for Joe, one of his most beloved 60s discs. And Tyner recorded his album The Real McCoy, his first for Blue Note and one of his best. After that, the two rarely worked together again, making this document a winding down of a valuable alliance.

A few months after the concert, Joe Henderson recorded Mode for Joe, one of his most beloved 60s discs. And Tyner recorded his album The Real McCoy, his first for Blue Note and one of his best. After that, the two rarely worked together again, making this document a winding down of a valuable alliance.

A few months after the concert, Joe Henderson recorded Mode for Joe, one of his most beloved 60s discs. And Tyner recorded his album The Real McCoy, his first for Blue Note and one of his best. After that, the two rarely worked together again, making this document a winding down of a valuable alliance.