Monthly Album Listening: October & November Recap
Forces of Nature: Live at Slugs - Joe Henderson
Released November 2024 (Issued 1966) on Blue Note Records
McCoy Tyner - piano
Joe Henderson - tenor saxophone
Henry Grimes - bass
Jack DeJohnette - drums
This is some of my favourite Joe Henderson playing; he's on fire here, and the combination of him and Jack is amazing. I'm so glad this live recording was released so we could get a taste of what it would have been like to hear this live. It's a long album (and I have to admit, I generally listen to the first track on repeat), with the first track lasting 26 minutes, the second 14 minutes, the third 28 minutes, and two additional tracks. The intensity throughout is just unrelenting, and the ideas just keep coming; there isn't a single dull moment for me, and to maintain that pace on a blues for that long, for example, is mind-blowing. I was discussing this record with saxophonist David Binney, and he made an interesting point: McCoy's comping isn't at its finest. While everyone else is clearly playing the form, his comping feels somewhat irrelevant/doesn't make much sense, and halfway during Joe's solo on the first track, he lays out (this happens on subsequent tracks too), allowing the rest of the band to take off even more. Who knows why this is happening... I suppose it is reassuring that even the finest can have 'off' days. Anyway, I love this album, and as a saxophone player, I feel like there is enough information to dissect and consume for years in just one tune.
Lofi at Lowlands 二 - Kevin Sun
Released November 14th 2025 on Endectomorph Records
Kevin Sun - tenor saxophone
Walter Stinson - bass
Kayvon Gordon - drums
Kevin Sun is an amazing tenor saxophonist and composer based in New York. I feel that he is the type of musician who can be placed in a variety of musical situations and sound authentic while still serving the music to its fullest potential. I'd only heard him in less 'free' situations, but when I started listening to the first edition of this series of records, 'Lofi at Lowlands', I fell in love with the music and have been playing it on repeat ever since. The first album feels more intense and almost like an ode to a 'noise' record, which is great, whereas the second one (as shown) includes calmer segments with a recurring beautiful tune called 'Shimmering' that appears three times. I love the sound worlds of both of these albums, as well as how each musician makes full use of their instruments to generate such a wide range of colours and moods. The production and post-production are excellent; as far as I know, this is a live recording from Lowlands in Brooklyn that has been (post)produced. As a side note, Kevin has a lot of great educational and musical resources on his website, which I definitely recommend checking out.
Bloomington - Branford Marsalis
Released May 1993 (Recorded 1991) on Sony Records
Branford Marsalis – tenor & soprano saxophone
Jeff "Tain" Watts – drums
Robert Hurst – acoustic bass
This is my favourite sort of Branford, and holy shit, it swings so hard. This is a live album that was recorded in Bloomington, Indiana. The first tune has the same spirit as the opening track from the Henderson album mentioned before. It feels very open, and it's evident that everyone is really locked in with each other, as demonstrated by the cued tempo changes on the first track. I really enjoy the Dewey Redman parallels in the way he plays these beautiful rubato melodies at parts throughout his soloing while the rhythm section continues to swing. Another favourite part of mine is the melody of ‘The Beautyful Ones Are Not Yet Born’, it’s so dark. It's interesting to point out that critics' reviews of this album are extremely divided, with some stating that it feels 'long' and 'self-indulgent', yet for me, these are the characteristics that make it amazing. It's admirable how they all take their time exploring so many diverse musical territories without ego and simply being present in the moment.
Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8
Released in 2024 on Columbia/Sony Records (some tracks already previously released)
Miles Davis - trumpet
George Coleman - tenor saxophone (63 recordings)
Wayne Shorter - tenor saxophone (64 recordings)
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums
To continue my ‘late’ Miles streak I’ve been checking out this album that consists of five live concerts:
Festival Mondial Du Jazz, Antibes/Juan-Les-Pins, July 26, 1963
Festival Mondial Du Jazz, Antibes/Juan-Les-Pins July 27, 1963
Festival Mondial Du Jazz, Antibes/Juan-Les-Pins July 28, 1963
Paris Jazz Festival, Salle Pleyel, October 1, 1964 (1st concert)
Paris Jazz Festival, Salle Pleyel, October 1, 1964 (2nd concert)
I love hearing standards played in a way that feels fresh, original, and timeless, which Miles is the king of; there's so much to learn from it. It's also really cool to hear multiple versions of the same material played throughout a number of shows, and it's interesting to see what themes emerge and where the songs go in different performances. Everyone sounds amazing throughout, but I particularly enjoy the rhythm section and Herbie's comping is incredible (1:18 on the first 'So What' track is so good). Miles also sounds unbelievable, particularly on all of the 'So What' tracks; his feel and fluidity is unlike anything else.
Johnny Hodges & The Duke Ellington Giants - Live in Paris: March 18th 1961
Recorded in concert on March 18, 1961 at Olympia Theatre, Paris, France
Johnny Hodges - alto saxophone
Duke Ellington - piano
Harry Carney - baritone saxophone
Lawrence Brown - trombone
Aaron Bell - bass
Ray Nance - cornet, violin & vocals
Sam Woodyard - drums
Al Williams - piano (track 4)
I listened to this record a lot in 2023 and have revisited it in recent months. The entire album is an absolute masterpiece in rhythm, feel, swing, and playing at difficult tempos. I'm obsessed with Hodges and how he can create so much rhythm from a single note. I transcribed his solo on "I Got It Bad and That Ain't Good," and it taught me so much about rhythmic note placement, dynamics, phrasing, and the intricacies and subtleties of sound that allow even one note to swing and lock in. All horn players should do this at some point, in my opinion; regardless of how you want to sound. I really like how the bass drum is used by drummers from this era and musical style; it's very hip and understated, adding to the simmering atmosphere that never feels intrusive. Another component that I believe drummers can use to improve their overall sound and balance on the drums; it sounds quite "modern" to me and whenever I hear it on most Ellington records it gets me every time.
