Joe Henderson and the Architecture of Post-Bop A Review of Our Thing and the Evolution of Modern Jazz

The 1963 recording of Joe Henderson’s Our Thing stands as a definitive marker in the transition from the structured confines of hard bop to the more expansive, exploratory realms of post-bop. Originally reviewed by Mark Gilbert for Jazz Journal in May 1986, the album serves as a testament to a period when the saxophone was undergoing a radical transformation, led by Henderson’s "determinedly individualistic and expressive voice." By the mid-1980s, Henderson had solidified his reputation as a major and abiding influence on contemporary jazz, yet the roots of his mastery are most visible in these early Blue Note sessions. Recorded on September 9, 1963, at the Rudy Van Gelder Studio in Englewood Cliffs, New Jersey, Our Thing captured a quintet at the height of its creative powers, balancing the traditionalism of bebop with the avant-garde sensibilities that would define the decade.

The Historical Context of 1963 and the Blue Note Sound

To understand the significance of Our Thing, one must look at the landscape of jazz in 1963. This was a year of profound artistic tension. On one side, the "New Thing"—represented by the free jazz of Ornette Coleman and the increasingly spiritual explorations of John Coltrane—was challenging the harmonic foundations of the genre. On the other side, the hard bop movement, which had dominated the late 1950s, was reaching a point of peak refinement. Joe Henderson emerged during this era as a bridge between these two worlds.

Blue Note Records, under the leadership of Alfred Lion and Francis Wolff, was the primary laboratory for this synthesis. The label provided a platform for musicians who were technically proficient in the bop idiom but were eager to experiment with non-traditional structures. Our Thing was Henderson’s second album as a leader, following his debut, Page One, recorded only months earlier in June 1963. While Page One introduced the world to the classic "Blue Bossa," Our Thing took a more adventurous path, showcasing a quintet that included the veteran trumpeter Kenny Dorham and the radical young pianist Andrew Hill.

Chronology of Joe Henderson’s Early Career (1962–1964)

The timeline of Joe Henderson’s rise to prominence is one of the most rapid and impactful in jazz history. After completing his military service in 1962, Henderson moved to New York, where he was quickly "discovered" by Kenny Dorham.

September 1962: Henderson begins collaborating with Kenny Dorham, who recognizes the saxophonist’s unique "inside-outside" approach to improvisation.
June 3, 1963: Henderson records Page One (Blue Note BST 84140). The album features Dorham and introduces Henderson’s ability to blend lyricism with complex harmonic ideas.
September 9, 1963: The quintet enters Van Gelder’s studio to record Our Thing. This session marks a shift toward a more dissonant and intellectually rigorous sound, largely due to the inclusion of Andrew Hill.
1964: Henderson continues his prolific run with albums like In ‘N Out and Inner Urge, while also contributing to Horace Silver’s landmark Song for My Father.

This chronological progression shows Henderson moving from a talented newcomer to a primary architect of the post-bop sound within the span of eighteen months.

Technical Analysis of the Ensemble and Compositional Structure

The personnel on Our Thing represents a deliberate mix of generations and stylistic philosophies. Kenny Dorham, the eldest member of the group, provides what Gilbert describes as "inspired and consistent bop" trumpet. Dorham’s presence anchors the record in the tradition of Charlie Parker (Bird), offering a melodic counterpoint to the more radical elements of the rhythm section.

The most striking departure from convention comes from pianist Andrew Hill. In 1963, Hill was on the verge of recording his own masterpieces, such as Black Fire and Point of Departure. On Our Thing, Hill represents "the extreme of weirdness." His approach is heavily indebted to Thelonious Monk’s use of space and dissonance but moves further away from bebop precepts. Hill’s playing is characterized by oblique phrasing and sharp atonality, which forces the other soloists to navigate a more complex harmonic terrain.

The rhythm section, featuring bassist Eddie Khan and drummer Pete La Roca, provides the necessary versatility to handle these shifts. While they are often described as "industrious," their role was far more complex. To support the "non-bop chord movements" and the shifting time signatures—such as the 6/8 bridge in the title track—Khan and La Roca had to abandon the steady, predictable pulse of standard swing in favor of a more interactive and textured rhythmic foundation.

Track-by-Track Examination and Stylistic Innovations

The album consists of five tracks, four of which were composed by Dorham or Henderson, showcasing their growing sophistication as writers.

Teeter Totter: A 12-bar tune that serves as a nod to the blues tradition but is filtered through a modern lens. It demonstrates how Henderson could take a standard form and infuse it with "discrete and melodic phrases" that feel entirely fresh.
Pedro’s Time: Another blues-inflected track that highlights the "spirit of Bird" mentioned by Leonard Feather in the original sleeve notes. However, the interplay between Dorham and Henderson suggests a move toward a cooler, more "Milesian" aesthetic.
Our Thing: The title track is perhaps the most representative of the post-bop "edifice." It features a 6/8 bridge that disrupts the standard 4/4 swing, a technique that would become a hallmark of the mid-60s Blue Note sound.
Back Road: This track incorporates a "soul-style theme," reflecting the growing influence of gospel and R&B on the jazz of the era, yet it remains firmly intellectual in its execution.
Escapade: The final track allows the quintet to stretch out, emphasizing Hill’s eccentricity and Henderson’s ability to maintain a "fully formed" voice even when navigating high-speed, complex changes.

Critical Reception and Industry Impact

Upon its release, Our Thing was recognized as a high-quality addition to the Blue Note catalog, though its full significance was perhaps not realized until decades later. In the original sleeve notes, Leonard Feather emphasized the connection to bebop, noting that the spirit of Charlie Parker remained a vital force. However, as Mark Gilbert noted in his 1986 retrospective, Feather’s assessment was "not the whole truth."

The record actually signaled the end of the bebop era’s dominance. By 1986, critics viewed Our Thing as a foundational document of post-bop. Henderson’s influence had become ubiquitous; his "viability as currency" was evident in the playing of the "Young Lions" of the 1980s, such as Branford Marsalis and Terence Blanchard, who looked back to the 1963–1967 Blue Note era for inspiration.

The industry’s reaction to Henderson during this period was one of profound respect. He was seen as the "saxophonist’s saxophonist"—a musician who shared John Coltrane’s technical facility but opted for a more structured, melodic approach. This made his music more accessible to mainstream audiences without sacrificing its intellectual depth.

Broader Implications: The Legacy of the Post-Bop Edifice

The "magnificent post-bop edifice" described by Gilbert remains a central pillar of jazz education and performance today. Our Thing proved that jazz did not have to choose between the accessibility of hard bop and the abstraction of free jazz. It demonstrated that a "singular sound" could be achieved by integrating diverse influences—from the 12-bar blues to atonal modernism.

Joe Henderson’s career would go on to include legendary stints with the Milestone label and a late-career resurgence with Verve in the 1990s, where he won multiple Grammy Awards. However, many aficionados point to the 1963 sessions as the moment where his "individualistic and expressive voice" was most purely captured.

The album also solidified the reputation of the Van Gelder Studio as the birthplace of the modern jazz sound. The clarity of the recording allowed for the subtle nuances of Andrew Hill’s "oblique approach" and Henderson’s "discrete phrases" to be heard with a transparency that was rare for the time.

In conclusion, Our Thing is more than just a "fine and more or less straightahead record." It is a sophisticated hybrid that reflects the myriad attitudes of a genre in transition. It stands as a reminder that the most enduring music often occurs at the intersection of tradition and innovation, where the lessons of the past are used to build the structures of the future.

Discography and Technical Details

Tracks: Teeter Totter; Pedro’s Time (18:32) – Our Thing; Back Road; Escapade (19:56)
Personnel: Kenny Dorham (trumpet); Joe Henderson (tenor saxophone); Andrew Hill (piano); Eddie Khan (bass); Pete La Roca (drums).
Recorded: September 9, 1963, New York (Englewood Cliffs, NJ).
Label: Blue Note BST 84152.
Producer: Alfred Lion.
Recording Engineer: Rudy Van Gelder.