JOE HENDERSON: aspectos de improvisação nas obras gravadas para a Verve Records

Abstract

Joe Henderson (1937-2001), saxofonista tenor e compositor, é considerado uma das figuras mais importantes na história do Jazz, particularmente entre os saxofonistas tenores. Criou um estilo muito próprio e diferente de outros saxofonistas e a sua abordagem ao instrumento reflecte-se na comunidade jazzística dos dias de hoje. O estudo sobre Joe Henderson tem vindo a crescer e tem-lhe sido dado a devida importância nas escolas, tornando-o cada vez mais reconhecido. No entanto, há poucos estudos sobre a sua abordagem composicional, de interpretação e de improvisação. Esta dissertação pretende dar uma visão mais detalhada dos recursos utilizados por Joe Henderson nos seus solos e, em particular, na época da década de 1990, na qual gravou para a editora Verve Records. Com o objectivo de abordar os diferentes estilos de jazz que Joe Henderson explorou nessa década, foram selecionados solos improvisados de músicas de cada um dos discos gravados nesta década. Irão ser analisados os solos improvisados sobre os temas: “Isfahan”, do disco “Lush Life: The Music of Billy Strayhorn” (1992); “Miles Ahead”, do disco “So Near, So Far (Musings for Miles)” (1993); “No More Blues (Chega de Saudade)”, do disco “Double Rainbow: The Music Of Antonio Carlos Jobim” (1995); “Without a Song”, do disco “Big Band” (1996) e o “Summertime”, do disco “Porgy & Bess” (1997). Foram transcritos e analisados alguns dos seus solos improvisados, de forma a identificar separadamente os elementos fundamentais da música: o ritmo, a harmonia e a melodia. Em concreto, pretende-se caracterizar a abordagem de Joe Henderson aos centros tonais, à visão harmónica (vertical e/ou horizontal) às fórmulas, aos padrões pré-concebidos e a prevalências rítmicas; JOE HENDERSON: Aspects of improvisation in works recorded for Verve Records Abstract: Joe Henderson (1937-2001), tenor saxophonist and composer, is considered one of the most important figures in Jazz history, particularly among tenor saxophonists. He created a very unique style different from other saxophonists and his approach to the instrument is still reflected in today’s contemporary Jazz community. The study of Joe Henderson’s music has been growing and he has been given due importance in schools, making him increasingly recognized. However, there are few studies on his compositional, interpretation and improvisation approach. This dissertation intends to give a more detailed view of the resources used by Joe Henderson in his solos and, in particular, in the 90s decade, when he recorded for Verve Records. With the aim of approaching the different styles of Jazz that Joe Henderson explored in that decade, improvisations from each of the albums recorded in that decade were selected: “Isfahan”, from the album “Lush Life: The Music of Billy Strayhorn” (1992); “Miles Ahead”, from the album “So Near, So Far (Musings for Miles)” (1993); “No More Blues (Chega de Saudade)”, from the album “Double Rainbow: The Music Of Antonio Carlos Jobim” (1995); “Without a Song”, from the album “Big Band” (1996) and “Summertime”, from the album “Porgy & Bess” (1997). Some of these improvisations are transcribed and analysed, in order to separately identify the fundamental elements of the music: rhythm, harmony and melody. Specifically, it is intended to characterize Joe Henderson's approach to tonal centre, to the harmonic vision (vertical and/or horizontal), to formulas or preconceived patterns and to rhythmic prevalence.