Joe Henderson : Inner Urge

Joe Henderson : Inner Urge


Joe Henderson (tenor sax), McCoy Tyner (piano), Bob Cranshaw (bass), Elvin Jones (drums)

Blue Note 4189

Music Matters Records : 2 LPs 180 gram (45rpm)

Limited Edition : 2,500 printings

Brand New and Sealed Record

Discontinued : last copy available!...

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1 - Inner Urge
2 - Isotope
3 - El Barrio
4 - You know I care
5 - Night and Day

Recorded on November 30, 1964 at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey.

Inner Urge is the fourth album by Joe Henderson as a leader.

One of the major discoveries of the 1960s, Joe Henderson was a sensation in the jazz world from the start. His sound on tenor was very original and immediately recognizable. He could play both inside (hard bop) and outside (free jazz) with ease, often alternating between the two. And he never seemed to create an uninspired chorus. 

After debuting as a member of Kenny Dorham's group, Henderson was with the Horace Silver Quintet at the time that he recorded Inner Urge in 1964. It is apparent from the start of this quartet date with McCoy Tyner and Elvin Jones that Henderson was a giant very much in their league despite his youth. In addition to contributing a pair of future standards with "Isotope" and "Inner Urge" and his inventive alteration of "Night And Day," Henderson's explorative solos are full of fire, their own logic, and unpredictability. 

His playing reflects both the turmoil and the passion of the 1960s along with his brilliant musicianship. Inner Urge is endlessly fascinating, one of the most important jazz recordings of the era and a highpoint in the career of Joe Henderson.

Joe Henderson said of the period when he wrote Inner Urge "During that period I was coping with the anger and frustration that can come of trying to find your way in the maze of New York, and of trying to adjust the pace you have to set in hacking your way in that city in order to just exist." "Isotope" is a tribute to Thelonious Monk's humour in his tunes, whilst "El Barrio" represents Henderson's attachment to the "Spanish musical ethos". The piece especially brings back to mind Henderson's childhood in Lima, Ohio. The saxophonist recalls giving the other musicians two simple chords, B minor and C major 7 (B phrygian)", and asking them "to play something with a Spanish feeling" on top of that. The melody was totally played off-the-cuff.

The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

Like all Music Matters Jazz releases, this audiophile vinyl reissue is mastered from the original analog tape and pressed on 180g virgin vinyl at RTI. The highest quality gatefold cover features original session photography on the inside.