Artist: Al Henderson – Quintet/Sextet/Septet
Release date: September, 2012
Label: Cornerstone Records
Recorded July 2011 at Canterbury Sound, Toronto.
Total Running Time: 63:46
This recording was made possible with the generous assistance of the Ontario Arts Council.
- Demolition Drive (3:53)
- Taiga (6:26)
- Croaking Raven (11:18)
- Icicles (5:25)
- The Martian Jump (6:09)
- Still Waiting (5:14)
- A Portrait of Billy Strayhorn (8:28)
- Mousetrap (2:56)
- A Little Out of Control (6:13)
- Zot (7:36)
Alex Dean (saxes, bass clarinet)
Pat LaBarbera (soprano sax, tenor sax, narration)
David Mott (baritone sax)
Matt Brubeck (cello)
Mark Chambers (cello)
Richard Whieman (piano)
Al Henderson (bass)
Barry Romberg (drums)
All compositions by Al Henderson (SOCAN)
Producer: Al Henderson
Session Recording / Engineering: Jeremy Darby
Mixing & Mastering: Steve Bellamy
Session Photography: Don Vickery
Artwork and Design: Jennifer Bedford
Layout: Jennifer Bedford, Al Henderson
Cover Painting: James LePage
Special thanks to my wife Mary & all those who supported me during the early months of 2012.
Notes on Croaking Raven
The initial inspiration for Croaking Raven came from listening to the remarkable range of sounds and calls used by the ravens of Eastport, Newfoundland & Labrador. The ravens “donated” a few calls to be used on the recording. During rehearsals, Pat LaBarbera began quoting from Poe’s The Raven. It seemed so appropriate to the piece that Pat generously agreed to narrate several stanzas from the poem for this performance. Who knew that he would be so good at it!
Notes on Icicles
This piece was written as a musical setting for the poem Icicles by the wonderful American poet Robert Pinsky. It can be played as purely an instrumental composition (as it is here) or with narration of the poem interspersed between themes and solos. For those interested in reading the poem itself, it can be found in Robert Pinsky’s latest work: Selected Poems (New York: Farrar, Strauss and Giroux. 2011).
Notes on A Portrait of Billy Strayhorn
I have known and worked with David Mott for over thirty years, but up until now have never had the opportunity to record with him. When he agreed to be a part of this project, I immediately thought of playing A Portrait of Billy Strayhorn to make use of the unique quality of his baritone sax along with Alex’s alto and and Pat’s tenor. I should note as well the terrific way in which Alex Dean evokes the memory of Johnny Hodges in this performance.