Tetragon is found on three different Milestone labels, the blue, the yellow tan,and an obviously not original brick-red from the Fantasy/ OJC school. See Collector’s Corner below for a definitive answer. Milestone has a number of label variations – yellow/ tan, blue, green, and brick-red, and many are casually referred to as “original”, when no-one really knows how the variations are dated. Anyone recognise it? It is very small, about half the size of Plastylite’s P, looks like a ghostly inverted letter V emerging from an illuminated tunnel, or a big-horn flying mountain goat ? I tried to describe it, just not very well, you may be able to do better. Keepnews was more concerned about artist signing and merchandising, not alone in not really understanding the importance of manufacturing quality.Ĭalling all Pixel Peepers! Curious pressing plant symbol on both sides. Pressing quality is in line with Milestone’s predecessor Riverside, which means variable, generally OK, some better than other, some dirty/ noisy. The Milestone label was Orin Keepnews sucessor label to Riverside, formed with Dick Katz, a busy piano sideman since the mid ’50s.The label offered a refuge for numerous jazz artists at the close of the ’60s, including McCoy Tyner, Gary Bartz, Nat Adderley, Ron Carter and Bobby Timmons. Not an essential compared with the Blue Note sessions, but still an enjoyable Henderson outing, and perhaps one of the last for some time. Add choppy-comping piano and Ron Carter motoring on bass, and you have solid listening session. Henderson’s tone is hard burr, skinny compared with some fuller-tone players, closer to parakeet-strangling, leaping into solos with imaginative twists and turns, probing multiphonic extremes. Tetragon features chirpy melodies pitched midway between hi-energy mainstream and languid post-bop. Only decades later, in the ’80s, would Henderson emerge re-energised, with his live trio double album The State Of The Tenor. The audience was moving on, fusion was just around the corner, a last gasp of modern jazz before it had to don gold lame pants, switch piano for synthesiser, or moved to Europe to bag a Danish (blonde). Henderson’s mythical sessions of the late 50s to mid 60s would not return. Most of these later Milestones can be found priced in single figures, harsh, but such is the verdict of the market, Patrick Gleeson) multi-track confections and increasingly ephemeral music in search of fertile new ground, and not finding it. These Black Vinyl Matters titles experimented with various musical devices riding current trends, adding the fusion-leaning Stanley Clarke and Lenny White, multiple percussion layers (Airto), E-mu polyphonic synthesisers (Dr. Joe could then have joined the “spiritual” and mystic, Sun Ra, Strata East, The Pharoah Master Plan oeuvre, but instead chose one political, with a series of black-themed titles, an early couple lifted by the presence of Woody Shaw on trumpet: Power to the People, “If You’re Not Part Of The Solution, Your’e Part Of The Problem”, In Pursuit of Blackness, Black Is the Color, Black Miracle, Black Narcissus, (plus an exceptional title, The Elements, with Alice Coltrane). ![]() Orphaned from Blue Note, and not in favour with Liberty, Joe Henderson’s Milestone albums kicked off with two highly listenable and collectable albums, The Kicker, and Tetragon (released January 1969). May 16, 1968: Joe Henderson, tenor sax Don Friedman, piano Ron Carter, bass Jack DeJohnette, drums, recorded at Plaza Sound Studios, NYC, ( Tetragon, First Trip, I’ve Got You Under My Skin) Other tracks – September 27, 1967: Joe Henderson, tenor sax Kenny Barron, piano Ron Carter, bass Louis Hayes, drums, recorded Plaza Sound Studios, NYC, recording e ngineer, Elvin Campbell. Two Henderson sessions, eight months apart, recorded at Plaza Sound Studios, once home base of the Riverside Records label, located on the eighth floor of Radio City Music Hall. UPDATED J– Harry M hits the spot-focus, photos Kenny Barron 1970 & Jack de Johnette 1969 added to foot of post.
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