WorldCat Identities
Fri Mar 21 17:04:17 2014 UTClccn-n821647020.00Henderson, Joe0.281.00Stylistic evolution of jazz saxophone performance as illustrated through selected improvisations by ten master improvisers115064662Joe_Hendersonn 821647027696186860590Henderson, JoeHenderson, Joseph A.Henderson, Joseph A., 1937-Henderson, Joseph A., 1937-2001Joe Henderersonlccn-n81014576Carter, Ron1937-prfitrlccn-n81058256Tyner, McCoyprfitrcmplccn-n81058238Jones, Elvinprfitrlccn-n79017434Cranshaw, Bobprfitrlccn-n83163529Hubbard, Freddiearrprfitrcmplccn-n79106984Foster, Alprfitrlccn-n81014575Hancock, Herbie1940-arrprfitrcmplccn-n83196051Higgins, Billyprfitrlccn-n81058254Morgan, Lee1938-1972prfitrcmplccn-n83056867Dorham, Kenny1924-1972prfitrmuscmpHenderson, Joe1937-2001JazzSaxophone music (Jazz)Trumpet music (Jazz)Piano with jazz ensembleSaxophone with jazz ensembleTrumpet with jazz ensembleGuitar with jazz ensembleMotion picture music--ExcerptsBig band musicBossa nova (Music)Suites (Jazz ensemble)Blues (Music)Piano music (Jazz)Alternate takes (Sound recordings)Organ music (Jazz)Musicals--Excerpts, ArrangedJazz vocalsPopular musicImprovisation (Music)Henderson, Joe,Guitar music (Jazz)Young, Lester,Green, GrantPavement (Musical group)Stoller, MikeDibango, Manu,Faithfull, MarianneAlexander, Arthur,Walden, Narada MichaelHole (Musical group)Webb, ChickShines, JohnnyMcClinton, DelbertLewis, RamseyBaker, JanetMontgomery, John MichaelHerrmann, Bernard,Black, Frank,MusiciansCopeland, StewartArrested Development (Musical group)DeBarge, ElCrash Test Dummies (Musical group)G., KennyMcBride, MartinaPrinceLemper, Ute,Meters (Musical group)Koppelman, CharlesWilson, Nancy,19372001194819501952195319541955195619571958195919601962196319641965196619671968196919701971197219731974197519761977197819791980198119821983198419851986198719881989199019911992199319941995199619971998199920002001200220032004200520062007200820092010201120122013154927771784781.65M1366.T96ocn041085300ocn032246594ocn024418341ocn037756024ocn021616200ocn017781470ocn050503795ocn024491657ocn020875504ocn018377674ocn026065434ocn042938094ocn042139150ocn027921442ocn044097621ocn042656250ocn030655839ocn035177019ocn031906829ocn027086468ocn056698444ocn689533455ocn004345585ocn029361936ocn812539063ocn781333986ocn780696077ocn742949379ocn035820538ocn796707213ocn029386342ocn029624706ocn762718554ocn659015077ocn659206951ocn659179034ocn659226224ocn742949379ocn861800138ocn836532755ocn658579362ocn173649068ocn72375262869947ocn042938094rcrd19640.28Morgan, LeeThe sidewinder56525ocn026065434rcrd19910.24Strayhorn, BillyLush life the music of Billy Strayhorn52331ocn042139150rcrd19670.29Tyner, McCoyThe real McCoyIn the start of what would be the first of seven albums, the former leader for Impulse, McCoy Tyner teams up with Henderson, Carter, Jones to create an easily recommended album38624ocn027921442rcrd19920.22Henderson, JoeSo near, so far musings for Miles37431ocn042704967rcrd19570.35Henderson, JoePage one35320ocn032246594rcrd19950.23Jobim, Antonio CarlosDouble rainbow the music of Antonio Carlos Jobim35120ocn044097621rcrd19640.29Hill, AndrewPoint of departureAndrew Hill brings some of the best musicians of the postbop era to the evolution of jazz music by pushing structure and harmony into different places31828ocn020875504rcrd19650.35Henderson, JoeInner urge31217ocn042656250rcrd19840.28Green, GrantIdle moments2872ocn041085300rcrd19990.20Blanchard, TerenceJazz in film28019ocn050503795rcrd19700.28Hubbard, FreddieRed clay2704ocn035957448rcrd19960.20Henderson, JoeBig band26624ocn053127029rcrd19660.37Henderson, JoeMode for Joe1: A Shade of Jade; 2: Mode for Joe; 3: Black; 4: Black (Alternate take); 5: Caribbean Fire Dance; 6: Granted; 7: Free Wheelin'2526ocn030655839rcrd19940.25Roy Hargrove QuintetRoy Hargrove Quintet with the tenors of our time23425ocn031275648rcrd19640.37Henderson, JoeIn 'n out22621ocn042457951rcrd19650.31Young, LarryUnity22310ocn024491657rcrd19910.28Tyner, McCoyNew York reunion2217ocn024418341rcrd19910.21Marsalis, WyntonThick in the South2167ocn037756024rcrd19970.23Gershwin, GeorgeThe Gershwin's Porgy and Bess18012ocn038070326rcrd19700.32Hubbard, FreddieStraight life91ocn527366000book19950.33Contemporary musicians. profiles of the people in musicBiographyProvides comprehensive information on musicians and groups from around the world. Entries include a detailed biographical essay, selected discographies, contact information, and a list of sources32ocn234193367book20030.96Viswanathan, SundarAn analysis of the jazz improvisation and composition in selected works from the Blue Note record period of tenor saxophonist Joe Henderson from 1963-1966Criticism, interpretation, etcBiography22ocn690046648book20080.47White, Arthur LynnJoe Henderson an analysis of harmony in selected compositions and improvisationsCriticism, interpretation, etcBiography"The main goal of this dissertation was to demonstrate Joe Henderson as a seminal figure in jazz history; a position that, despite his importance among jazz musicians, typically is lost when compared with many of his contemporaries. Three compositions and subsequent improvisations were selected for analysis. These pieces are among Henderson's most well-known compositions, and were selected because they represent the compositions most likely to be studied when one is first exposed to Joe Henderson. New transcriptions of the improvisations from each piece were created. A biographical sketch was also created. The second goal of this research was to elucidate the harmonic style of Joe Henderson's improvisations. The analysis supported the contention that Henderson was an improviser strongly influenced by bebop jazz while also equally displaying harmonic techniques considered as avant-garde for the period. Each improvised solo demonstrated characteristics of bebop as well as freer forms of jazz performance, equally displaying tonally strong bebop motives with techniques that were in contrast to the prescribed harmonic function of the compositions. The results of each solo portrays Joe Henderson as a jazz soloist firmly imbedded between two contrasting styles of jazz performance, making him both a significant contributor to the movement of the jazz field as well as an artist worthy of significant study and clarification."--Abstract from author supplied metadata11ocn423398715visu20091.00Rosnes, ReneeInterview with Renee RosnesInterviewsRenee Rosnes speaks with Will Friedwald about the origin of her name, Renee (taken from Irene); growing up in Vancouver; studying piano from the age of three years; playing violin as a child; introduction to jazz in high school; attending the classical performance program at the University of Toronto for two years and then returning to Toronto to enter the jazz performance scene; seeing musicians like Sarah Vaughn, Oscar Peterson, and Monte Alexander at Toronto's Plazazz Room; playing at Toronto after-hours club Basin Street; the influence of bassist Wyatt Ruther; moving to New York in 1985; playing in after-hours sessions at the Blue Note; appreciation of Art Blakey; touring with Joe Henderson in an all-female group; reception of the all-female group; Joe Henderson as a musician and as a person; playing with Out of the Blue (OTB), a supergroup assembled by Blue Note records; working with Wayne Shorter; playing a synthesizer for the first time with Shorter; Shorter's influence; Shorter's methods of communication; how all of the musicians she worked with early on shared a trust in the musicians they hired and an ability to direct musicians nonverbally and how this has influenced her style as a composer and bandleader; her first album for Blue Note; recording a duet with Herbie Hancock for this album; playing with J. J. Johnson and how the beauty of his playing inspired her; working with John Faddis and the Carnegie Hall Jazz Band; playing with the Danish Radio Big Band; performing with Gerald Wilson and his performance style; her other recordings for Blue Note; doing an album with stringed instruments; her "Life on earth" and "As we are now" recordings; how she enjoys writing for different formats, how each of her albums has a distinct personality; playing with Richie Perry; her albums with trio The Drummonds; the "Ancestors" album and how it related to her personal life; the 100 Fingers tour in Japan; how she met her husband, pianist Bill Charlap; composing and performing as part of the San Francisco Jazz Collective; working with vibist Bobby Hutcherson and the compatibility between the piano and vibraphone; playing with Bill Charlap; the influence of James Moody on her work; upcoming projects including a recording with Bill Charlap; an album in tribute to Joe Henderson; and a performance at the Vanguard in June 200911ocn319601809book20081.00Gardiner, Robert AmanStylistic evolution of jazz saxophone performance as illustrated through selected improvisations by ten master improvisersHistory11ocn845667962mix2008Hill, GarethAn application of the musical style of jazz saxaphone to the double bass"The aim of this dissertation is to explore improvising on the double bass through an investigation of the improvised solos of prominent jazz saxophonists. This involves a melodically focused analysis of solos of Charlie Parker, Dexter Gordon, Sonny Rollins, Joe Henderson, Oliver Nelson and Eric Dolphy. My melodic analysis is in aid of furthering my melodic concept on the double bass and consists largely of analysis in three areas: intervallic content, phrasing and melodic devices. It is through this process that I hope to develop techniques for the double bass and further my own concept for improvising. The disparity between saxophone and the double bass means that there is much to be gained from transferring ideas from each instrument. There are differences in dexterity, phrasing abilities and acoustics that have allowed the saxophone to develop an improvising style entirely different to that of many double bassists. While saxophonists I enjoy, solo in an exciting and complex way, my soloing on the double bass is generally slower, less melodic and lacking in intensity and concept. I believe that this study can give great insights into my playing as well as creating a model which may be used by others to develop their own improvising on the double bass."11ocn046837451art1996Henderson, Joe11ocn029777729visu1.00Neal, LarryLarry Neal photograph collectionThe Larry Neal Photograph Collection documents his personal life during the 1960's and 1970's, and his professional career during this time period. Personal photographs include portraits of Larry Neal and photographs of friends and acquaintances. There is a limited depiction of Neal's family life; several images include Evelyn Rodgers Neal, Larry's wife, and there is one image of their son Avatar. Personal photographs also include a number of contact sheets with Neal's photographic work, documenting his travels to Jamacia and Haiti11ocn256489413score1.00Henderson, JoeLead sheets : unpublished copyright depositsManuscriptsFri Mar 21 15:29:10 EDT 2014batch44191