Jim Snidero - The Music of Joe Henderson (Double-Time, 1998)

Jim Snidero, alto sax
Conrad Herwig, trombone
Joe Magnarelli, trumpet
David Hazeltine, piano
Dennis Irwin, bass
Kenny Washington, drums

Recorded December 21 & 22, 1998
Van Gelder Studio
Engineer: Rudy Van Gelder

Tribute albums often leave me feeling empty. Too often, musicians celebrating the music of other artists simply play repertory, which in the jazz world is not enough. A tribute should not only cover the significant compositions of the honorees but also offer new interpretations. For example, Joe Henderson's own tribute to Miles Davis (So Near, So Far) succeeds because it updates Davis's music, especially some of his earliest recordings. See my previous post of this album for details. 

Jim Snidero's The Music of Joe Henderson offers fresh arrangements of Joe Henderson's works, many of which were written for tenor-led quintet or quartet formats. As I listen to Snidero's arrangements for sextet, I marvel at the strength of Henderson's legacy as a composer. Six of the eight tracks have become classic jazz repertoire and are instantly recognizable. Even "Black Narcissus" and "Afro-Centric," which debuted on Henderson's Power to the People (Milestone, 1969), are frequently covered by other musicians. All of Henderson's compositions are fascinating to study and easy to enjoy. 

The unifying thread across all eight numbers is Snidero's lyrical alto sax. Stylistically, Snidero owes an obvious debt to Cannonball Adderley, but as Zan Stewart's booklet notes clarify, Snidero's tone contains a rich "boppish tinge" that is all his own. Few tenorists, much less altoists, have ever sounded like Henderson, whose burnished tone and unique phrasing defy imitation. Snidero's reimagining of Henderson's classic songbook, composed originally for tenor sax, is exactly what a tribute album should be. 

The band are all experienced players who have gone on to represent the best of modern mainstream jazz. For his part, Conrad Herwig is a consummate section player who also delivers memorable solos. He appears to lay out on "Serenity," but delivers strong solos elsewhere, especially on the opening "If."

Joe Magnarelli, the third horn in the sextet, shines particularly on "Serenity," one of Henderson's greatest tunes. He is also featured on "Afro-Centric," taking advantage of the tune's additional blowing space. His section work is instrumental to the tight arrangements and cohesive sound of the full sextet. He has a bright tone reminiscent of Freddie Hubbard.

Pianist David Hazeltine is also the right player for Snidero's tribute, but he is not favored by Rudy Van Gelder's modified miking of the RVG studio piano, which loses much of its natural resonance. Regardless, his solo on "If" demonstrates his facility at a brisk tempo. He's one of the most dependable and prolific pianists on the scene today.

Stewart's informative booklet notes give a detailed view of Henderson's work and Snidero's connection to it. Notes like these are positive features of Double-Time releases that, unfortunately, are now difficult to find.