Joe Henderson with Chick Corea - Page One (1963/2014) Hi Res

Page One is one of the most brilliant recording debuts in jazz history. While most first efforts feature a promising jazz musician in their early stages when they sound a bit like their musical heroes since they are in the process of developing their own original voices. Page One is much different. Joe Henderson, who was 26 at the time, was already fully formed. His sound was immediately recognizable and his ability to play both inside (hard bop) and outside (explorative jazz) at the same time made him unique from the beginning of his career.

Henderson’s illustrious recording life began in the early ‘60s with Blue Note. He launched as a leader in 1963 with his Blue Note debut, Page One, a remarkable quintet session featuring trumpeter Kenny Dorham, his collaborator, who contributed two originals to the six-track album as well as penned the liner notes where he claimed the “goateed astronaut of the tenor sax” was “one of the most musical young saxophonists to show since Charlie Parker.” It was high praise that Henderson fully exhibited on Page One, which included the stellar rhythm section of bassist Butch Warren, drummer Pete LaRoca and pianist McCoy Tyner, who is referred to as “etc.” on the album cover since he had just signed a contractual record deal with Impulse!.

The hard bop-steeped album not only opened ears in the jazz world to Henderson’s ebullient tenor saxophone voice, but it also helped to establish him as a go-to session man for other Blue Note recordings, most notably classic albums by Horace Silver (Song for My Father), Lee Morgan (The Sidewinder) and Andrew Hill (Point of Departure), all released in 1964.

Page One opens with a Dorham doubleheader: the upbeat, bossa-tinged “Blue Bossa,” where the trumpeter and tenor play the infectious lead with harmonic beauty before Henderson delivers a smoky, spirited solo, and the balladic “La Mesha,” played with soulful tenor grace.

The rest of the album features Henderson’s impressive originals including the driving blues “Homestretch” with fiery solos by both front-liners as well as a rollicking break by Tyner and a splashing drum run by LaRoca, and the swinging “Jinrikisha” that Henderson sings through with his energetic tenor improvisations. The highlight of the collection is Henderson’s bossa-tinged “Recorda Me,” not only a jazz standard today but also a tune that he never tired of playing, evidenced by him keeping it in his repertoire throughout his leader days. Page One closes with the blues creeper, “Out of the Night,” brilliantly swung into action by the rhythm team and showcasing arguably the strongest Henderson improvisational stretch.

Page One is Henderson’s “Call me Ishmael,” the auspicious beginning of the tenor saxophonist’s heralded narrative of top-tier jazz.

Henderson began his career playing locally in Detroit. After serving in the military and having a brief stint with organist Jack McDuff, he joined trumpeter Kenny Dorham’s group in 1962. Dorham championed Henderson and helped get him signed to Blue Note. For Page One, Henderson utilized Dorham, pianist McCoy Tyner, bassist Butch Warren and drummer Pete La Roca for a remarkable set of forward-looking and passionate jazz. Page One includes the earliest recordings of Dorham’s “Blue Bossa” (which has been a standard ever since), “La Mesha” and four Henderson originals including “Recorda Me.” Henderson and Dorham make for a perfect team as they show on such numbers as the swinging “Jinrikisha,” the explosive “Homestretch” and the blues “Out Of The Night.” Dorham, a veteran from the bebop era, effectively passed the torch to Joe Henderson who from this point on would make a superb series of timeless recordings. Page One was a giant first step in a very significant career.

Tenor saxophonist Joe Henderson's debut as a leader is a particularly strong and historic effort. With major contributions made by trumpeter Kenny Dorham, pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca, Henderson (who already had a strikingly original sound and a viable inside/outside style) performs six generally memorable compositions on this HighResAudio reissue. Highlights include the original versions of Dorham's 'Blue Bossa' and Henderson's 'Recorda Me.' It's highly recommended.