Blending a socially conscious spirit with hard bop, jazz-funk, and electronic elements, Power to the People finds Joe Henderson saxophonist entering a new creative dimension, as he performs such originals as “Isotope,” “Afro-Centric” and the first recording of his classic “Black Narcissus,” alongside such legends as Herbie Hancock (piano, Fender Rhodes), Ron Carter (electric and acoustic bass), Jack DeJohnette (drums), and Mike Lawrence (trumpet). Available on 192/24 hi res digital.

Sometimes written off as an also-ran to her more famous husband, Alice Coltrane's work of the late '60s and early '70s shows that she was a strong composer and performer in her own right, with a unique ability to impregnate her music with spirituality and gentleness without losing its edges or depth. Ptah, The El Daoud is a truly great album, and listeners who surrender themselves to it emerge on the other side of its 46 minutes transformed. From the purifying catharsis of the first moments of the title track to the last moments of "Mantra," with its disjointed piano dance and passionate ribbons of tenor cast out into the universe, the album resonates with beauty, clarity, and emotion. Coltrane's piano solo on "Turiya and Ramakrishna" is a lush, melancholy, soothing blues, punctuated only by hushed bells and the sandy whisper of Ben Riley's drums and later exchanged for an equally emotive solo by bassist Ron Carter.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope.

This unique straight-ahead jazz project unites three core members of Return to Forever with post-bop horn heavyweights Freddie Hubbard and Joe Henderson. Stanley Clarke makes an unusual appearance on upright bass, and plays it well. Chick Corea and Lenny White round out the ensemble. The set is strictly acoustic, beginning and ending with two Lenny White tunes, the lively "L's Bop" and the somber, dramatic "Guernica," respectively. Clarke contributes the catchy, mid-tempo blues "Why Wait," while Corea gives us "October Ballade" and Hubbard dusts off his hard-bop classic "Happy Times." Corea's trio featured on Steve Swallow's "Remember" breaks things up nicely.

The first four tracks on this double live record are extended version of tunes from the group's 1982 studio album. The last two are Thelonius Monk's "I Mean You" and the standard "Here's That Rainy Day." There's some great playing from all involved, especially Joe Henderson and Chick Corea, but the recording quality leaves something to be desired.

For at least his fourth recording in six years heading a pianoless trio, the great tenor Joe Henderson (along with bassist Rufus Reid and drummer Al Foster) is heard on his own "Inner Urge," an original blues, two lengthy versions of "Body and Soul" and three other jazz standards. This Italian import is particularly recommended to listeners not that familiar with Henderson's playing, for he brings new life to these often overplayed compositions.

An album led by guitarist Rick Laird, but a set that's probably equally noteworthy for the presence of tenorist Joe Henderson on a few tracks – who really shines here in an overlooked late 70s session! The core group is great enough – as Laird has these round, classic jazz guitar tones that slide in with soulful beauty next to the piano and Fender Rhodes of Tom Grant – and when Henderson's not around, Grant's solos are especially great – and really have this lyrical power that grabs us right away, and almost makes us forget the presence of Joe! But then Henderson comes back with that subtle edge of his – similar to his playing on the Mirror Mirror record – a raspy tone that really deepens the whole proceedings. Henderson produced the record, and plays on the tracks "Outer Serge" and "Tranquility".

In general, Joe Henderson's take on Porgy and Bess meets the high standards of his latter-day records for Verve. Working with arranger Bob Belden and a wonderful combo - including guitarist John Scofield, pianist Tommy Flanagan, bassist Dave Holland, drummer Jack DeJohnette, trombonist Conrad Herwig and vibraphonist Stefon Harris - Henderson brings Gershwin's music to life with subtle beauty and grace. Furthermore, he demonstrates his uniqueness - Henderson's Porgy and Bess may share the same source as Miles Davis' legendary Porgy and Bess, yet it has an original sound, relying less on orchestration than that classic. While this disc is not flawless - instead of enhancing the music, guest spots from vocalists Chaka Khan and Sting actually stop the momentum, calling attention to themselves - it nevertheless is another valuable addition to Henderson's catalog.

This early recording by Joe Henderson is not only one of the finest of all of his recordings, but is also a high point for 1960s jazz. At this point in his career, Henderson was a full-time member of Horace Silver's combo and did not yet have a steady band in his hire. He is joined on Inner Urge by veterans of other combos: McCoy Tyner and Elvin Jones from John Coltrane's unit and Sonny Rollins sideman Bob Cranshaw. The presence of these luminaries aside, Inner Urge is home to two of Henderson's best (and best-loved) compositions: "Inner Urge" and "Isotope." The leader's solo on the title track is a marvelous thing, full of melody as well as anarchic bursts of sound, which is in perfect keeping with the spirit of the song's probing, searching theme…

One of the tastiest concoctions of the mid-'70s jazz-fusion era, Chain Reaction finds the Crusaders at the top of their form. The compositions are both accessible and memorable, and the playing is uniformly excellent. Guitarist Larry Carlton delivers some of his finest licks and funkified rhythm work. Wayne Henderson shows there is a place in fusion for the trombone. Wilton Felder does double duty, delivering smoking saxophone lines and funky bass riffs. Joe Sample's Fender Rhodes piano provides a solid chordal foundation and great solos. And the stickman, Stix Hooper, keeps the groove solid. The band employs a variety of rhythms and tempos, and gives the members plenty of room to strut their individual and collective stuff. In fact, "collective" may be the key word here, for this is the sound of a band, not just a group of guys thrown together for a recording session. Chain Reaction was one of the albums that helped lure young, rock and soul-oriented listeners over to check out the jazz side, and should not be missed by those interested in the more accessible, funky side of fusion.

The title Page One is fitting for this disc, as it marks the beginning of the first chapter in the long career of tenor man Joe Henderson. And what a beginning it is; no less than Kenny Dorham, McCoy Tyner, Butch Warren, and Pete La Roca join the saxophonist for a stunning set that includes "Blue Bossa" and "Recorda Me," two works that would be forever associated with Henderson. Both are bossa novas that offer a hip alternative to the easy listening Brazilian trend that would become popular with the masses. Henderson and Dorham make an ideal pair on these and other choice cuts like the blistering "Homestretch" and the engaging swinger "Jinrikisha." These both show the already mature compositional prowess that would become Henderson's trademark throughout his legendary career. The final blues number, "Out of the Night," features powerful work by the leader that only hints of things to come in subsequent chapters.

Given the recording date of Mode for Joe and the band lineup, it's easy to assume this is a straight-up hard bop album. However, this 1966 Joe Henderson record - featuring trumpeter Lee Morgan, trombonist Curtis Fuller, vibraphonist Bobby Hutcherson, pianist Cedar Walton, bassist Ron Carter, and drummer Joe Chambers - is a great example of modern jazz at its best. It was recorded during a time of sweeping musical changes due to developments in free jazz, soul-jazz, and even early experiments with fusion. It was a time when the bluesy and funky leanings of hard boppers were giving way to more individualized contemporary approaches. One of the best examples of this shift, Mode for Joe sounds more like the experimental work of Branford Marsalis than the groovy musings of Art Blakey & the Jazz Messengers…

Joe Henderson's second recording as a leader features a very strong supporting cast: trumpeter Kenny Dorham (one of Henderson's earliest supporters), pianist Andrew Hill, bassist Eddie Khan, and drummer Pete La Roca. Together they perform three Dorham and two Henderson originals, advanced music that was open to the influence of the avant-garde while remaining in the hard bop idiom. The up-tempo blues "Teeter Totter" contrasts with the four minor-toned pieces and, even if none of these songs became standards, the playing is consistently brilliant and unpredictable. Even at this relatively early stage, Joe Henderson showed his potential as a great tenorman.