Customer Reviews

Inner Urge

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After a brief absence in the Blue Note catalog, I am delighted the label had the urge to reissue "Inner Urge" via the RVG series. This is by all accounts Joe Henderson's masterpiece. He made some other excellent efforts in the 1960s (several of which I have previously reviewed, including "Our Thing," "Mode for Joe" and "Straight, No Chaser") and he had a remarkable Grammy-winning comeback in the 90s, but "Inner Urge" is his best album in a storied career. Recorded on November 30, 1964, this session places the tenor saxophonist and bassist Bob Cranshaw in the company of half of the mighty Coltrane Quartet -- McCoy Tyner on piano and Elvin Jones on drums -- only days before that group would cut the jazz landmark, "A Love Supreme." It is no surprise then that Henderson sounds his most 'Trane-like at points on this disc, particularly on the title track, the searching "El Barrrio," and the Cole Porter standard "Night and Day." But in fairness, J.H. has his own unique musical voice that could never be mistaken for J.C., and much of the Coltrane comparisons should be attributed to the signature supporting style of McCoy and Elvin. In fact, one need look no further than the Monk-flavored "Isotope" or Duke Pearson's ballad "You Know I Care" to dismiss any copycat claims. "Inner Urge" is indeed its own jazz masterwork and Henderson's essential contribution to the watershed year of 1964.

What this album is not is a Coltrane-lite session with Joe Henderson in place of John. What it is is Joe Henderson's master work, and a high point not only for himself but for blue note and sixties jazz. This is music you might hear at the top of the hard-climbed mountain, it's the sound of truimph. Besides the hard comping Mccoy Tyner, and the on the beat fire of Elvin Jones of the Classic Coltrane Quartet, we also have Sonny Rollin's long-time sideman Bob Cranshaw, whose running base lines are elegantly plastered into the crevices of the sonic brickwork of these strong tunes. Joe Henderson's playing, and there were many instances that serve as an example as to what he could do ("state of the tenor", "in'n out", "live in japan", "four", "unity", "little johnny C", "cape verde blues", etc.), was never more insistant to communicate. Out of his tenor comes a sound of raw immediacy, desperate, and vunerable with blue-flamed emotion. But unlike, lets say the live album he cut in Japan, "inner urge" isn't all about Joe, it's a fine-tuned collaboration, a sort of Joe "meets the rhythm section". At times within the music on this album there is a feeling of controled chaos, that Tyner and Jones, not to mention Cranshaw, were much used to in regards to their usual leaders. At points the music feels like it might fall apart, but at each instance Henderson comes roaring through, fueled by a sheer muscular audio-athleticism that sees the group through. Even when the tone slows down a bit on songs like "You Know I Care" there is an inner-tension running beneath the sweet veneer. When I think about "inner urge" as a whole it conjures up an image of a man running hard over a silent, dark, landscape, lost in thought, but running nonetheless, a steady slap of rubber against pavement, and fighting for breath. Joe Henderson was never better.

If you fundamentally like JoeHen's sound and style, you should definitely have this release. In general it is of dark, brooding, often Lydian (mode) tonality though of course Night and Day is bright and upbeat. It's ambience is superb, the improvising is heady and daring, and it is definitely one of Joe's great recordings. A short list of some others would be Red Clay, Straight Life, Mode for Joe, State of the Tenor (1 and 2), and the obscure Leaving this Planet (Charles Earland). All colossal.

If there were ever a fire in my apartment and I had to grab a couple of CDs I could not do without--this would be one of them. Recorded in November of 1964, a banner year for Blue Note since other classics stood out that year (Speak No Evil, Song for My Father), "Inner Urge" represents Joe Henderson at his best--there's not a single weak track in the bunch. Starting with the ground-breaking title tune, written in a diminished mode, plus the Monkish "Isotope", Henderson took center stage as perhaps the logical successor to the Coltrane throne. Other aurally blowing tracks include a totally improvised, recorded impromptu in the studio, "El Barrio", Duke Pearson's "You Say You care" and a completely revised, changes-wise, swinging "Night & Day". Backed by Coltrane duo of McCoy Tyner & Elvin Jones plus Rollins bassist, Bob Cranshaw, this is essential Henderson. If you are limited to only one Joe Henderson album, get this one!! Although he achieved material success on the Verve label, many Henderson fans felt his best work was for Blue Note--this album could stand as proof!!

On Inner Urge, Joe Henderson turns in a powerhouse performance. His three originals, the title track, "Isotope", and "El Barrio" are all very unique compositions, toeing the line between hard and post bop. His solos are dynamic and challenging, incorporating flurries of notes, but more cohesive then just fragmented noodling. After the explosiveness of his originals, Henderson takes it down a notch with his beautiful version of Duke Pearson's "You Know I Care". The sound of his horn is full and gorgeous. Last up is his taut retelling of Cole Porter's "Night and Day", rendering it anything but standard. I enjoyed Henderson's Page One, but I love Inner Urge. Throughout the album, Henderson's sax jumps from tension to anger to sweetness to joy, ably backed by skillful McCoy Tyner on piano, Elvin Jones on drums, and Bob Cranshaw on bass.

By going to a four-piece, Joe Henderson puts himself out in front as the sole horn, delivering tumbling, dark hard bop on this one. Not the first choice for the casual fan -- that would have to be "Page One" -- but this is the first he did without his mentor (the perennially underrated Kenny Dorham), and as such is a move toward a more personal statement. If you're building a Blue Note hard bop collection, though, you'll want this one. Sound on this RVG edition is clean and as usual has plenty of space.

As far as Joe Henderson's playing goes, this recording is probably his most "intense" or "exploratory" playing. As a consequence, some of it, especially the beginning, tends to be hard listening for someone who isn't already familiar with jazz or the avant-garde. Accompanying Henderson on this recording is the rhythm section from the John Coltrane Quartet: McCoy Tyner on piano, Bob Cranshaw on bass, and Elvin Jones on drums. At times the group almost sounds like the John Coltrane quartet, rather than the Joe Henderson, plus Coltrane's rhythm section, featuring some of the most "out" playing of Henderson's on record.

The first three tunes on the album are written by Joe Henderson: Inner Urge is intense, fast, reckless yet controlled, and occasionally hard listening, but still enjoyable. Isotope is another Henderson original, now a standard, and is a funky blues. "El Barrio" pushes the limit, and is, at times, hard to listen to, but is still quality playing. "You know I care" is a ballad, and Joe Henderson plays beautifully here. It is at this point on the album where I really feel like I'm hearing the "classic Joe Henderson sound", rather than the "John Coltrane sound" that can be heard earlier on in the album. The album ends with a great version of Night and Day. Joe Henderson takes hold of this song and makes it his own.

Overall, this is one of Joe Henderson's better performances. If you are already familiar with the John Coltrane Quartet, you will probably like this album. If you like Joe Henderson and also enjoy the avant-garde, you will proabably like enjoy this album. However, this album is, for much of it, hard listening. If your only previous introduction to Joe Henderson is "Page One" or his performance on "The Sidewinder" or "Song For my Father," I would recommend listening to "Our Thing," "Mode for Joe," or "In'n'out" before you tackle Inner Urge.

A classic album. Great playing all around. An essential addition to any jazz collection. It's interesting to note that this album was recorded only 10 days before McCoy Tyner and Elvin Jones would return to the Van Gelder Studio to sit in at a little jam session with John Coltrane called 'A Love Supreme'.

i'm almost tempted to say henderson sounds the way he does here because of mccoy tyner and elvin jones from the john coltrane quartet. there might be some truth in that statement. coltrane and henderson are different stylists, maybe a similar sound, but different approaches to the tenor. henderson is worth listening to for his own style. a comparison closer to henderson than coltrane is kenny garrett who, consciously or not, is influenced by henderson, on inner urge anyway, than, admittedly by a good many listeners, john coltrane.

elvin jones solo on the title track is a bonus for his fans.

elvin jones and mccoy tyner play like a pair of seasoned partners.