Saxophone instrumental music in Jazz Instrumental Music

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"Hypnotic" (07/26/2004) Jazz Instrument Taylor, Paul (Saxophone), Peak RecordsPersonnel: Paul Taylor (soprano saxophone, alto saxophone); Dino Esposito, Oji Pierce (various instruments); Kurt Jackson (guitar, keyboards, programming); Paul Pesco, Tony Maiden, Brian Monroney (guitar); Mathew Edralin (keyboards, Moog synthesizer, programming); Alex Al (bass guitar); Lenny Castro (percussion).

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"As Was" (03/20/2001) Jazz Instrument ROVA Saxophone Quartet, Atavistic RecordsRova Sax Quartet: Jon Raskin, Larry Ochs, Andrew Voigt, Bruce Ackley. Producers: Larry Ochs, Henry Kaiser. Reissue producer: John Corbett. Recorded at 1750 Arch Street Studios, Berkeley, California in April 1981. Originally released on Metalanguage Records (ML 119). Includes liner notes by Michael Palmer & Larry Ochs. All tracks have been digitally remastered.

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"Nightlife" (03/15/2005) Jazz Instrument Taylor, Paul (Saxophone), Peak RecordsPersonnel include: Paul Taylor (soprano saxophone, alto saxophone); Maxi Priest (vocals); Dwight Sills, John "Jubu" Smith (guitar); Walt Fowler (flugelhorn); Barry J. Eastmond (keyboards, percussion, drum programming); Dino Esposito (keyboards, programming, bass programming, drum programming); Rex Rideout (keyboards, programming); Jeff Lorber (keyboards); Freddie Washington (bass instrument); Michael White (drums, percussion); Ricky Lawson (drums).

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"Sax Appeal" (05/15/1991) Jazz Instrument Waters, Kim, Warlock RecordsPersonnel: Kim Waters (various instruments); Debbie Poole (vocals); James Waters, Jr. (bass). Recorded at Ligosa Sound Studio, Cincinnati, Ohio.

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"Page One [Remaster]" (04/20/1999) Jazz Instrument Henderson, Joe (Saxophone), Blue Note Records (USA)The Rudy Van Gelder Edition of PAGE ONE includes an essay by Bob Blumenthal. Personnel: Joe Henderson (tenor saxophone); Kenny Dorham (trumpet); McCoy Tyner (piano); Butch Warren (bass); Pete La Roca (drums). Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 3, 1963. Originally released on Blue Note (84140). Includes liner notes by Kenny Dorham and Bob Blumenthal. Digitally remastered using 24-bit technology by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of the Blue Note Rudy Van Gelder Editions series. The title PAGE ONE is fitting for this disc as it marks the beginning of the first chapter in the long career of tenor man Joe Henderson. And what a beginning it is; no less than Kenny Dorham, McCoy Tyner, Butch Warren, and Pete La Roca join the saxophonist for a stunning set that includes "Blue Bossa" and "Recorda Me," two works that would be forever associated with Henderson. Both are bossa novas that offer a hip alternative to the easy-listening Brazilian trend that would become popular with the masses. Henderson and Dorham make an ideal pair on these and other choice cuts like the blistering "Homestretch" and the engaging swinger "Jinrikisha." These both show the already mature compositional prowess that would become Henderson's trademark throughout his legendary career. The final blues number, "Out of the Night," features powerful work by the leader that only hints of things to come in subsequent chapters.

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"Milestone Profiles" (06/06/2006) Jazz Instrument Henderson, Joe (Saxophone), Fantasy Records (USA)Includes bonus sampler. Tracks: 1. The Kicker - Joe Henderson 2. Song For My Lady - McCoy Tyner 3. Dindi - Flora Purim 4. St. Thomas - Ron Carter Duo/Jim Hall 5. I'm Old Fashioned - Sonny Rollins 6. One Mint Julep - Jimmy McGriff & Hank Crawford Quartet 7. No Doubt About It - Jimmy Smith 8. I Thought About You - Jimmy Scott Personnel: Joe Henderson ; Dave Holland, George Cables, George Duke, Herbie Hancock, Airto Moreira, Kenny Barron, Lenny White, Louis Hayes, Ron Carter, Stanley Clarke. Recording information: 1967 - 1975. Collecting a variety of the tenor saxophone player Joe Henderson's 1970s recordings for the Milestone label, MILESTONE PROFILES is an intriguing and absorbing mixed bag that features post-bop ballads like "Mamacita," the funky soul-jazz of "Black Narcissus," more modernist offerings like "Out 'N' In," and the free-floating lyricism of "Black Is the Color of My True Love's Mind." Throughout, Henderson's playing is supple, eclectic, and sometimes revelatory.

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"Saxophone Colossus [Remaster]" (03/21/2006) Jazz Instrument Rollins, Sonny, Fantasy Records (USA)Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Digitally remastered using 20-bit technology by Shigeo Miyamoto (JVC Studios). Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler and Martin Williams. DCC Gold Discs are mastered from original master tapes played back on a reconstructed vintage tube reproducer. The discs are custom-manufactured and plated with 24-karat gold, and housed in a lift-lock jewel box. The 2002 edition of this CD (JVC catalog #XRC 221) is a sonically improved version which replaces JVC catalog #XRCD 60158. Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Digitally remastered by JVC using XRCD (Extended Resolution Compact Disc) technology. Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Digitally remastered using 20-bit K2 Super Coding System technology. This is part of the Prestige Records 50th Anniversary Commemorative Special Edition series. This is a Super Audio Hybrid CD playable on Super Audio CD players and regular CD players. Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (upright bass); Max Roach (drums). Recording information: Van Gelder Studio, Hackensack, New Jersey (1956). The year 1956 marked a turning point for Sonny Rollins. Out of the ashes of what had been a talented but troubled young tenor saxophonist, came a new Sonny Rollins, his purpose clarified and strengthened, his muse razor sharp and brimming with new visions. As a new member of the Clifford Brown/Max Roach Organization, he was inspired as much by their spiritual consistency as their artistic integrity. By his own admission, even as a jazz tadpole, Sonny Rollins possessed a brawny sound and a powerful rhythmic drive...but other elements were missing. With SAXOPHONE COLOSSUS, Sonny Rollins created a personal vision of the tenor saxophone and modern jazz brimming over with joy and conviction. SAXOPHONE COLOSSUS was a breakthrough recording, praised for its lyrical power, thematic logic, relentless swing and spontaneous invention. Borrowing a page from his West Indian roots, Rollins' "St. Thomas" employed elements of Caribbean folk melodies and calypso rhythms to create an exotic, dancing tenor anthem--one of the most identifiable, beloved themes in all of jazz--driven along by Max Roach's melodic drumming, Tommy Flannagan's shimmering accompaniment, and the saxophonist's swaggering melodic invention. Rollins displayed fresh harmonic power and innovative methods of thematic develpment throughout SAXOPHONE COLOSSUS. On the swinging starts and stops of "Strode Rode" and the dreamy blues cycles of "Blue 7," Rollins began his solos with simple melodic motifs, and orchestrated them into grand, elongated thematic statements--every note made meaningful by Rollins' extraordinary sense of development and intuitive musical architecture. In addition, his tenor timbre took on renewed vigor and complexity on two ballads: "Moritat" (our old friend "Mack The Knife") and his epic reading of "You Don't Know What Love Is."

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"Inner Urge [Remaster]" (06/29/2004) Jazz Instrument Henderson, Joe (Saxophone), Blue Note Records (USA)Personnel: Joe Henderson (tenor saxophone); McCoy Tyner (piano); Bob Cranshaw (bass instrument); Elvin Jones (drums). Liner Note Author: Bob Blumenthal. Recording information: Van Gelder Studios, Englewood, NJ (11/30/1964). Recorded at Rudy Van Gelder's Englewood Cliffs studio just nine days before John Coltrane's A LOVE SUPREME, Joe Henderson's INNER URGE bears some resemblance to Coltrane's later work. This is no surprise since Henderson employed McCoy Tyner (piano) and Elvin Jones (drums) for this album, and these musicians were already forming the concepts they would unleash on the Coltrane session. But the music on INNER URGE is unique, too, namely in its improvisational approach. Henderson and company span the gaps between hard-bop and avant-garde jazz with greater ease and cohesiveness than many of their contemporaries, a quality best evidenced on the title track. INNER URGE was Henderson's fourth date as a leader for Blue Note Records, and the first time he set out to record without his trusted friend, trumpeter Kenny Dorham. This release features "Isotope," now a well-known Henderson tune, and a lively version of the standard "Night and Day." Clearly the record's most memorable track, however, is the explorative "El Barrio," a droning piece that offers listeners a plethora of rich musical textures, modal detours, and percussive explosions.

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"In Pursuit of Blackness/Black Is the Color" (02/02/1999) Jazz Instrument Henderson, Joe (Saxophone), Milestone Records2 LPs on 1 CD: IN PURSUIT OF BLACKNESS/BLACK IS THE COLOR. Includes liner notes by Orrin Keepnews, Mitchell Feldman and Joe Henderson. Digitally remastered by Joe Tarantino (1998, Fantasy Studios, Berkeley, California). IN PURSUIT OF BLACKNESS: Personnel: Joe Henderson (tenor saxophone); Pete Yellen (alto saxophone, flute, bass clarinet); Woody Shaw (trumpet); Curtis Fuller (trombone); George Cables (electric piano); Stanley Clarke, Ron McClure (bass); Lenny White (drums); Tony Waters (congas). Engineers: Elvin Campbell, Bernie Grundman. Recorded at Decca Studios, New York, New York on May 12, 1971 and live at the Lighthouse Cafe, Hermosa Beach, California on September 25 & 26, 1970. Originally released on Milestone (9034). BLACK IS THE COLOR: Personnel: Joe Henderson (soprano & tenor saxophones, flute, alto flute, percussion); Jack DeJohnette (electric piano, drums); George Cables (electric piano); David Horowitz (synthesizer); Georg Wadenius (guitar); David Holland (acoustic bass); Ron Carter (electric bass); Ralph McDonald, Airto Moreira (congas, percussion). Engineer: Elvin Campbell. Recorded at Mercury Sound Studios, New York, New York in March and April 1972. Originally released on Milestone (9040). This two-albums-on-one-CD set captures the tenor master at an interesting juncture, both in his own artistic development and jazz in general. The collection draws from three recording sessions, spanning 1970-72. Henderson's music honestly reflected what was happening with the different factions shaping jazz in that era: the avant garde, the blossoming of fusion and the influence of the post-bop mainstream. He also synthesizes an awareness of jazz's African roots and the growing use of electric and electronic instruments and overdubbing (which most of the mainstream jazz audience of the time thought was heresy). The music on this album ranges from straight-ahead standards ("Invitation," with fine playing from Shaw) and driving, quirky hard bop ("A Shade of Jade") to free-form space-exploring soundscapes ("Current Events"). The playing from all the participants is uniformly fine, especially Cables and Henderson, whose tenor style draws influence from Sonny Rollins, Stan Getz and John Coltrane, but maintains its own sound. Highly recommended to any serious, open-minded jazz fan.

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"Double Rainbow: The Music of Antonio Carlos Jobim" (03/21/1995) Jazz Instrument Henderson, Joe (Saxophone), Verve (USA)Personnel: Joe Henderson (tenor saxophone); Herbie Hancock, Elaine Elias (piano); Oscar Castro-Neves (guitar, percussion); Christian McBride, Nico Assumpcao (bass); Paulo Braga (drums, percussion); Jack DeJohnette (drums). Producers: Oscar Castro-Neves, Richard Seidel. Recorded at Clinton Recording Studios, New York on November 5 & 6, 1994 and Oceanway Recording, Los Angeles, California on September 19 & 20, 1994. Includes liner notes by Joe Henderson, Richard Seidel and Oscar Castro-Neves. DOUBLE RAINBOW: THE MUSIC OF ANTONIO CARLOS JOBIM was nominated for a 1996 Grammy Award for Best Jazz Instrumental Performance, Individual Or Group. Joe Henderson has been one of the great tenor stylists since he burst on the scene in the 1960s as a sideman and leader on several historic Blue Note recordings. Henderson found a space on the horn to accomodate both the innovations of John Coltrane and Sonny Rollins, plus a wide range of personal timbral devices--expressive manipulations of the embouchure that allowed him to produce breathy, flute-like ornaments and a unique vocal cry. Henderson's work with producer Richard Seidel has emphasized the tenor saxophonist's gifts as an interpreter of other people's music. His critically acclaimed recordings of music associated with Billy Strayhorn (LUSH LIFE) and Miles Davis (SO FAR, SO NEAR) have been jazz best-sellers. Now with DOUBLE RAINBOW, Henderson pays tribute to the rich designs of the late Antonio Carlos Jobim in the form of two suites: one with a Brazilian styled band (evoking shades of the Getz/Gilberto collaborations), the other with an all-star American aggregation including bassist Christian McBride, pianist Herbie Hancock and drummer Jack DeJohnette. From Henderson's first notes over the bouncy groove of "Felicidade," his lyrical gifts are well-served by pianist Elaine Elias and guitarist Oscar Castro-Neves. And on the lovely melodies of "Dreamer" and "Once I Loved" Henderson patiently shapes his phrases with a real regard for the lyrics. The powerhouse American rhythm section helps Henderson to stretch out rhythmically and harmonically. Hancock is in remarkable form, even by his own lofty standards, helping Henderson to reorchestrate each Jobim standard without losing the shape of the tune. "Happy Madness" features them in an extraordinary duet, while "Modinha" opens with a solo sax feature of epic scope and control, before McBride comes strolling through with his indomitable beat. DOUBLE RAINBOW is choice from start to finish.

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"Have Horn Will Travel" (02/10/1998) Jazz Instrument Gordon, Sax, Rounder RecordsPersonnel: "Sax" Gordon Beadle (vocals, tenor saxophone); Eric "Two Scoops" Moore (vocals); Duke Robillard (guitar); Porky Cohen (trombone); Tom West (piano, organ); Marty Ballou (bass); Marty Richards (drums). Roomful Of Blues Horns: Rich Lataille (alto & tenor saxophones); Doug James (baritone saxophone); Bob Enos (trumpet); Carl Querfurth (trombone). Recorded at Lakewest Recording, West Greenwich, Rhode Island on March 17 & 18, 1997. Includes liner notes by Dick Shurman and Sax Gordon.

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"The Definitve Joe Henderson" (09/24/2002) Jazz Instrument Henderson, Joe (Saxophone), Verve (USA)Personnel includes: Joe Henderson (tenor saxophone); Kenny Dorham, Lee Morgan (trumpet); Robin Eubanks, Curtis Fuller (trombone); Bobby Hutcherson (vibraphone); Herbie Hancock, McCoy Tyner, Cedar Walton (piano); John Scofield (guitar); Ron Carter, Dave Holland, Christian McBride (bass); Joe Chambers, Jack DeJohnette, Al Foster, Elvin Jones, Pete La Roca (drums). Producers: Alfred Lion, Oscar Castro-Neves, Richard Seidel, Don Sickler, Joe Henderson, Stanley Crouch, Michael Cuscuna. Compilation producers: Richard Cuscuna, Richard Seidel. Recorded between 1963 & 1994. Includes liner notes by Peter Keepnews. All tracks have been digitally remastered.

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"Porgy & Bess" (10/07/1997) Jazz Instrument Henderson, Joe (Saxophone), Verve (USA)Personnel: Joe Henderson (tenor saxophone); Sting, Chaka Khan (vocals); Conrad Herwig (trombone); Stefon Harris (vibraphone); Tommy Flanagan (piano); John Scofield (acoustic & electric guitars); Dave Holland (bass); Jack DeJohnette (drums). Principally recorded at Avatar Studios, New York, New York from May 25-28, 1997. "Summertime" was nominated for a 1998 Grammy Award for Best Female R&B Vocal Performance. The music of Porgy and Bess has been "Joe Hendersonized," with beautiful results. Gershwin's sultry and sad music makes a wonderful vehicle for improvisation inside Henderson's arrangements. Along with Henderson's decidedly modern harmonic approach, Stefon Harris' coloristic vibes work, John Scofield's twisted blues guitar and Jack DeJohnette's abstract-but-swinging drumming remind us that this is a nineties telling of the tale. "My Man's Gone Now" is arranged in classic 1960's Henderson style, for a unique upbeat blowing version. Vocal appearances by Chaka Khan and Sting round out this modern interpretation of a Twentieth Century classic.

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"Passages" (07/26/2004) Jazz Instrument Wilson, Steve (Saxophone), Stretch RecordsPersonnel: Steve Wilson (soprano & alto saxophones, flute, alto flute, whistle, caxixi, cowbell, tambourine, hand claps); Nicholas Payton (trumpet, flugelhorn); Bruce Barth (acoustic & Fender Rhodes pianos, hand claps); Ed Howard (bass, hand claps); Adam Cruz (drums, bass drum, steel drums, bones, caxixi, clave, cowbell, percussion, hand claps); Laura (hand claps). Recorded at Sound On Sound, New York, New York on December 19 & 20, 1999. Includes liner notes by Steve Wilson. Saxophonist Steve Wilson continues to be one of the most gifted young woodwind specialists on the modern scene. His intellectual approach and studied chops are coupled with a deep spiritual base and driving creativity. On PASSAGES, Wilson leads everything from a duo with pianist Bruce Barth to trios, quartets, and quintets with some of his closest contemporaries including trumpeter Nicholas Payton, bassist Ed Howard, and drummer/percussionist Adam Cruz. Together, this set reveals many of Wilson's abilities that have kept him extremely busy throughout his career. The musical avenues that Wilson chooses to explore are as varied as the instruments that he has mastered. Complex jazz tunes like the opening "Turnin' The Corner, " with Wilson on alto, are balanced by more eclectic works like the Latin groove "Song For Anna" that features flute, Fender Rhodes, bass and a rhythmic shaker. Wilson also proves to be an adept soprano stylist on tunes like the gliding "Eye Of The Beholder" and Keith Jarrett's free-floating "Days And Nights Waiting." Other highlights of Wilson's talent include the burning "The Lexter" and the Caribbean-esque percussion feature "Roots & Herbs."

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"So Near, So Far (Musings For Miles)" (02/23/1993) Jazz Instrument Henderson, Joe (Saxophone), Verve (USA)Personnel: Joe Henderson (tenor saxophone); John Scofield (guitar); Dave Holland (bass); Al Foster (drums). Recorded at the Power Station, New York, New York from October 12-14, 1992. Includes liner notes by Bill Milkowski. "Miles Ahead" won the 1994 Grammy Award for "Jazz Instrumental Solo." "So Near, So Far" won the 1994 Grammy Award for "Jazz Instrumental, Individual or Group." Although he only played with Miles Davis a handful of times in 1967, saxophonist Joe Henderson understood both the intricacies and the overall vision of the late trumpeter's music. Supported here by a world-class rhythm section, Henderson performs nine Davis selections plus the title track, a song popularized by Davis, but written by Tony Crombie and Benny Green. On SO NEAR, SO FAR (MUSINGS FOR MILES), Henderson combines classic Davis tunes with some of the trumpeter's little-known compositions. The jaunty "Swing Spring" and the highly rhythmic "Side Car" are good examples of some of the rarer material presented on this disc. (Other tunes such as "Miles Ahead," "Milestones," and "Flamenco Sketches" should be more familiar to listeners.) As expected, Henderson and his band navigate their way through these tunes with panache. Guitarist John Scofield's subtle, yet supportive, comping is particularly effective throughout, as is drummer Al Foster's colorful use of percussion. The highlight of the record is the ensemble's hard-swinging version of "Joshua;" the time signature shifts on the bridge are especially complex, but Henderson and company glide through them effortlessly.

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"Priceless Jazz Collection: Tenor Sax Ballads" (04/06/1999) Jazz Instrument Various Artists, GRP Records (USA)This is part of GRP Records' Priceless Jazz series.

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"Canyon Lady" (08/19/1997) Jazz Instrument Henderson, Joe (Saxophone), Original Jazz ClassicsPersonnel: Joe Henderson (tenor saxophone); Luis Gasca (conductor, trumpet, flugelhorn); Hadley Caliman (tenor saxophone, flute); Oscar Brashear, John Hunt (trumpet); Julian Priester, Nicholas Tenbroek (trombone); Ray Pizzi, Vincent Denham (flute); Mark Levine (piano); George Duke (electric piano); John Heard (bass); Eric Gravatt (drums); Victor Pantoja, Francisco Aguabella (congas); Carmelo Garcia (timbales); Recorded at Fantasy Studios, Berkeley, California in October 1973. Originally released on Milestone (9057). Digitally remastered by Phil De Lancie (1997, Fantasy Studios, Berkeley, California).

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"Sax You Down" (07/27/2004) Jazz Instrument Blackwell, Alfonzo, Orpheus RecordsPersonnel: Alfonzo Blackwell (vocals, various instruments); Cee-Rock 'The Fury', Dapheney St. Fleur (vocals).

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"Steppin' Out" (07/26/2004) Jazz Instrument Taylor, Paul (Saxophone), Peak RecordsPersonnel includes: Paul Taylor (soprano saxophone); Paul Taylor (alto saxophone, vocoder); Nicholas Lane (trumpet); Lee Thornburg (trombone); Rex Rideout (keyboards, programming); Dwight Sills (guitar); Michael White, Ronnie Garrett (bass); (drums); Luis Conte, Dave Charles (percussion); Darcy Alrdridge (background vocals). Recorded at East Bay Music Recording, Tarrytown, New York.

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"Sax-a-Go-Go" (02/25/1993) Jazz Instrument Dulfer, Candy, MSI Music (import)Personnel: Candy Dulfer (vocals, alto, tenor, baritone & soprano saxophones); Wies Ingwersen, Patricia Balrak (vocals); J.B. Horns, Tower Of Power (horns); Angelo Verploegen, Iwan Van Hetten (trumpet); Gerbrand Westveen (tenor & baritone saxophones); Rob Van Donselaar (piano, background vocals); Carlo De Wijs, Hans Jansen (Hammond organ); Michel Van Schie (bass); Ulco Bed (drums, guitar, bass, vocals, keyboards, percussion); Frans Hendrix (drums, percussion, programming); Lucas Van Merwijk (drums, percussion); Wendell Arthur Morrison Junior, Denise Jennah, Geert Van Itallie, Peter "Pee Wee" Warnier, Viktor Heeremans, Marga V., Leslie Doornik, Edwin Rath, Arjan Boonacker, Niels Hermes, Marcel Kaptein, Marcel Gelderblom, Rick Hartman (background vocals). Producers: Candy Dulfer, Ulco Bed, Easy Mo Bee. Recorded at Zeezicht Studios and Wisseloord Studios, Hilversum, Holland. SAX-A-GO-GO is the second album from Dutch pop-saxophonist, who has collaborated with Prince, who penned the cut "Sunday Afternoon."

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"Big Band" (10/22/1996) Jazz Instrument Henderson, Joe (Saxophone), Verve (USA)Personnel includes: Joe Henderson (arranger, tenor saxophone); Slide Hampton, Don Sickler, Bob Belden (conductor); Dick Oatts (soprano & alto saxophones); Steve Wilson, Pete Yellin (alto saxophone); Tim Ries, Craig Handy (tenor saxophone); Gary Smulyan, Joe Temperley (baritone saxophone); Jon Faddis, Freddie Hubbard, Nicholas Payton, Lew Soloff, Michael Philip Mossman, Ray Vega, Idrees Sulieman (trumpet); Robin Eubanks, Conrad Herwig, Jimmy Knepper (trombone); Dave Taylor (bass trombone); Chick Corea, Ronnie Mathews (piano); Christian McBride (bass); Joe Chambers, Al Foster, Lewis Nash (drums). Producers: Joe Henderson, Bob Belden, Don Sickler. Recorded at Power Station, Studio C, New York, New York on March 16, 1992 and at The Hit Factory, Studio 1, New York, New York on June 24 & 26, 1996. Includes liner notes by Bill Kirchner. BIG BAND won the 1998 Grammy Award for Best Large Jazz Ensemble Performance.