Joe Henderson – Power To The People, Milestone MSP 9024 RARE - EX Vinyl

$

174

The Kicker - Joe Henderson

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[isdntekvideo] (Visually Graded) Vinyl looks VG and sleeve looks VG (SEE PICS). See pics and info for details.

Joe Henderson Sextet – The Kicker
Label: Milestone  – MSP 9008 Format: 12", Vinyl, LP, Album, Stereo, Blue Label Country: US Released: 1968 Genre: Jazz Style: Hard Bop, Modal
A1 Mamacita 3:20 A2 The Kicker 4:04 A3 Chelsea Bridge 4:37 A4 If 5:34 B1 Nardis 4:40 B2 Without A Song 5:59 B3 O Amor En Paz 5:32 B4 Mo' Joe 4:08
Recorded At – Plaza Sound Studios Bass – Ron Carter Design – Studio Grafica Ltd. Drums – Louis Hayes Engineer – Elvin Campbell Liner Notes – Jack Springer Photography By – Charles Stewart* Piano – Kenny Barron Producer – Orrin Keepnews Tenor Saxophone – Joe Henderson Trombone – Grachan Moncur* (tracks: A1 to B2, B4) Trumpet – Mike Lawrence (tracks: A1 to B2, B4)
Kenny Barron appears courtesy of Atlantic Records. "A product of Milestone Records Inc. 22 West 48th Street, New York, N.Y. 10036" [rear sleeve]
-bio - Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than four decades, Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note, Milestone, and Verve.

 Blue Note recordings

From 1963 to 1968, Henderson appeared on nearly 30 albums for Blue Note, including five released under his name. The recordings ranged from relatively conservative hard-bop sessions (Page One, 1963) to more explorative sessions (Inner Urge and Mode for Joe, 1966). He played a prominent role in many landmark albums under other leaders for the label, including most of Horace Silver's Song for My Father, Herbie Hancock's The Prisoner, Lee Morgan's The Sidewinder and "out" albums with pianist Andrew Hill (Black Fire, 1963 and Point of Departure, 1964)[1] and drummer Pete La Roca (Basra, 1965).

In 1967, there was a brief association with Miles Davis's quintet featuring Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams, although the band was never recorded. Henderson's adaptability and eclecticism would become even more apparent in the years to follow.
Milestone Records recordings

Signing with Orrin Keepnews's fledgling Milestone label in 1967 marked a new phase in Henderson's career. He co-led the Jazz Communicators with Freddie Hubbard from 1967 to 1968. Henderson was also featured on Hancock's Fat Albert Rotunda for Warner Bros. It was during this time that Henderson began to experiment with jazz-funk fusion, studio overdubbing, and other electronic effects. Song and album titles such as Power to the People, In Pursuit of Blackness, and Black Narcissus reflected his growing political awareness and social consciousness, although Black Narcissus was named after the 1947 Powell and Pressburger film of the same title.

After a brief association with Blood, Sweat & Tears in 1971, Henderson moved to San Francisco. He was still signed to Milestone Records, which had recently moved to San Francisco after being acquired by Fantasy Records. Henderson wanted to be near his label, and get out of New York City. Henderson lived in San Francisco for the rest of his life, and taught at the San Francisco Conservatory of Music from 1978 to 1982, according to musicologist Joel Geoffrey Harris. A performance space at the San Francisco Jazz Center is named for him.

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- General Standards For Record Grading -

NM-
(NEAR MINT) The vinyl is almost flawless, bright and shiny. A very light minor, barely visible mark or two may be permitted. The disc should play with no audible noise. The label is bright, clean and unmarked. Sleeve looks almost Mint.
VG++/EX
(VERY GOOD ++/ Excellent) Disc plays near perfectly, but may have minor, light scuffs that do not interfere with the sound quality. There can possibly be a light hairline scratch or two but nothing that is obvious or affects play. Vinyl is bright and shiny; label is clean and unmarked. Sleeve is Excellent.
VG+
(VERY GOOD PLUS) Some visible surface wear, very minor scratches and scuffs, but minimal impact on the sound quality. Vinyl will still have good luster; labels may have minor imperfections (small labels or initials, etc.) but otherwise clean. Sleeve may have some shelf wear, or minor writing, no seem splits.
VG
(VERY GOOD) Vinyl will have noticeable scratches and scuffs that cause surface noise There should be no skips. Vinyl may appear somewhat dull and grayish. Labels may have small tears, tape marks, larger writing, etc. but still easily legible.  Sleeve may have moderate wear or writing, tape, price tags etc, seem splits. May have promo corner, hole or notch in sleeve.