Tatsaechlich ist das Zitat ueber Bartz stark verkuerzt wiedergegeben, von hier, sehr interessantes Interview… Eigentlich las sich das alles so:
SV: Do you think Joe ever really got his due? Do you think he ever got what he deserved, in terms of his playing, do you think his music was appreciated at the time, or., do you think he achieved the type of success he should have achieved?
PY: Oh, definitely not. DEFINITELY not. Even though he won two Grammys, I think, and was nominated two or three times. Even though he did that, he didn’t get his due until he was in his middle fifties. That’s late, that’s too late. He should have been getting that acclaim when he was with Horace, or when he was coming up with Herbie and all those groups. People should have seen the genius of him. But he was too good for people to hear. And also the fusion stuff was taking over. Jazz wasn’t getting the acclaim in general.
When Joe was at the height of his powers, jazz wasn’t getting as much acclaim. NOW, it’s if Joe Henderson came on the scene., he’d be…, look how he can play compared to Wynton Marsalis. Look how much he can play. I mean, Wynton is a great musician, a great spokesman, a great role model, a great human being, a great historian, and everything. But look at what Joe played, man, compared to what Wynton played. I mean, it’s not even comparable.
So, if Wynton is a Pullitzer Prize winner, Joe should have been getting those kinds of awards, ‚cause to me, he’s almost as powerful as Charlie Parker., as powerful as ‚Trane, you know, the way he turned jazz around. People started combining the modal with the bebop, and he just brought the stuff to another area that was powerful.. I’m tellin‘ you, every tenor player, and many alto players who were coming up in NY: Michael Brecker included, and Bob Berg and all these guys – you can think of so many. They just imitated Joe Henderson, period. Imitated!
SV: I read an interview where someone asked Joe what he thinks of people emulating him, in their playing. And he said „You know, I think it’s great, but, you know, when they like, come up with a solo and they quote me directly and they don’t say where it’s coming from., that’s uh.. that’s theft!“ (laughs)
PY: Exactly! You know, like Gary Bartz, for instance, who’s a pretty original player, and a good friend of mine. He used to come with a tape recorder to Joe’s gigs, and Kenny Garrett also. They used to come to all of Joe’s gigs. But when it came to the liner notes or something, they would never give Joe his due. They’d say „Who are your influences“ and they would all say, you know, the same old cast of characters (Laughs). They wouldn’t say Joe Henderson – I can’t figure it out. And even on that, you know that Jazz, uh.. did you see that Jazz….?
So wie ich das gelernt hab, laesst man beim Zitieren mit „[…]“ weg und nicht mit „….“, Doktorarbeit halt… aber damit klingt die Passage ueber Bartz sehr viel ausgewogener, insofern war das vorher schon verfaelschend… ich haett jetzt behauptet, die Generation, in der Joe Henderson wirklich einflussreich war, sind so die Jahrgaenge 1965-1975, Ravi Coltrane, Chris Potter, Chris Cheek, Mark Turner, Seamus Blake… die halt nicht mehr so hart klangen wie in der Tat Brecker bis Grossman… das mit noetigen Anlauf hab ich bei Benny Maupin uebrigens auch, bei CLifford Jordan oder Joe Henderson eher nicht… aber das mit „kaum offene statements“ ueberzeugt mich trotzdem sehr…
letztlich find ich das eine wahnsinnig spannende Frage, wie im Jazz der Schritt von Coltrane und Zeitgenossen zu diesem neuen Mainstream um Michael Brecker eigentlich genau passiert ist… die Akademisierung des Jazz in diesen Jahren hatte damit zu tun, auch wenn sie Grossman, Brecker, Liebman noch nicht betraf – die fanden ihren Stil noch bei Jamsessions in Brooklyn… was nichts daran aendert, dass um diese Zeit ein in Universitaeten gelehrter Tenorstil entstand, der ungefaehr so klang wie diese Jungs… dann gibt es die Saxophonisten die durch die Band von Elvin Jones gingen (und spaeter die von Paul Motian), die grossen Coltrane Projekte von Frank Tiberi und Andrew White (ueber die ich nicht viel weiss, Transkriptionen und dergleichen)
Auf .org wurde kuerzlich die Diskografie gepostet, die Jerry Coker um 1970 fuer didaktische Zwecke verwendete, da gab es sehr viel Wayne Shorter (eigene Alben + mit Miles), Coltrane (unter anderem mit Giant Steps, das fuer mich schon irgendwie der Startpunkt dieser Entwicklung ist), zweimal George Coleman (mit Hancock und Miles) und je einmal Sony Stitt, Sonny Rollins und Joe Henderson (als Sideman auf the Real McCoy)… das ist natuerlich nur die Liste eines solchen Jazzpaedagogen – aber bei dem scheint das Gewicht deutlich mehr auf Miles Davis und Wayne Shorter zu liegen…
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