Joe Henderson: Power to the People Album Review – Warungku Terkini
Jazz, like the world it reflected, was in flux in 1969. That year, Miles Davis released In a Silent Way, an album whose low-key atmosphere belied its status as a herald of major upheaval, leading the music into a decade of electric instruments, studio-driven experiments, and rhythms that drew as much from funk and R&B as swing. Yet plenty of people were still playing changes in the old-fashioned way: A musician could devote their entire life to mastering the art, and just because Miles was suddenly doing tape manipulation and listening to Sly and the Family Stone didn’t mean everyone else was following suit. And free jazz, a decade or so old at that point, was still a radical force, its elaborations and deconstructions of melody providing alternate routes forward from tradition, ones that didn’t necessarily require plugging in at all.
Looking back, it’s tempting to see these various styles—fusion, straight-ahead, avant-garde—as utterly distinct and walled off, and it’s true that certain players could be dogmatic in their adherence to one idiom and rejection of the others. The case of tenor saxophonist Joe Henderson gives good reason to consider them more holistically. An old-school virtuoso who taught himself to play by transcribing and memorizing solos by bebop titans like Charlie Parker and Lester Young, he also brushed the edges of free jazz as a sideman with Andrew Hill, and encouraged his own supporting players to experiment with electronics even on records that steered clear of full-on fusion. His 1969 album Power to the People, available on vinyl for the first time in decades via a superb new reissue from Craft Recordings and Jazz Dispensary, is an essential document of this transitional moment, due in part to its creator’s disregard for rigid stylistic affiliation. If you want to hear, in a single album, how jazz—all of it—sounded just before the turn of the ’70s, you could do worse than this one.
Henderson surrounded himself with a few of the world’s best players for Power to the People. Two, keyboardist Herbie Hancock and bassist Ron Carter, were veterans of Davis’ band, and one, drummer Jack DeJohnette, was just joining up with Miles at around the same time; Henderson also recruited up-and-coming trumpeter Mike Lawrence on two of the seven tracks. Across the album, Hancock switches between acoustic piano and Fender Rhodes, and Carter between upright and electric bass, choices that mirror the album’s fluid stylistic approach. Carter’s choice of bass, in particular, is a rough indicator of where a given track will fall on the spectrum. On upright, his primary instrument, he tends toward traditional walking lines, outlining the chords with a steady pulse that the rest of the players are free to improvise around. On electric, he dances more freely around the outskirts of the pocket, jabbing in and out in search of new rhythmic possibilities, nudging the music away from the jazz’s well-worn solo-and-accompaniment format and toward more open-ended group improvisation.
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