The closing 13-mins Earth is the slowest-paced and most-modal piece of the album, but also the most psychedelic and hypnotic and features a soft-spoken chant. Over the flipside, the 7-mins+ Water is the most eastern piece, because Alice’s tambura sets the tome from note 1, and despite the slight dissonance, Haden strikes a variant of the ALS bass line. The following 10-mins Air is a much more reflective mood sometimes bordering on the dissonant, but it’s got Trane’s shadow all over it. The opening 11-mins Fire is a fast-paced affair, and probably the most standard affair on the album, despite the presence of the harp and violin.

The mood is explorative and modal throughout the four elements, and much of the exotic feel is given via Alice’s usual tambura, harmonium and harp, but Nash and Oshun’s percussions give the whole thing a very worldly sonic aura, but it is White’s violin that add that extra touch of originality. The line-up is quite a stellar one, not only featuring the headlining Alice & Joe, but the afore-mentioned Haden and Leon Chancler, though lesser-known Michael White on violin, Ken Nash on percussion (and the odd flute and spoken text and Indian percussionist Oshun complete the roster. Apparently, while reaching the mid-70’s, Henderson went spiritual, and maybe a bit psychedelic. Every time I listen to this album, I like it more.įrom Henderson’s Milestones discography, there is little doubt that his most adventurous album is the one he made with Alice Coltrane - for which he’s played on her Daoud album – and there is little doubt about its nature when seeing the album and track titles. Free? No, it might set you back a bit (especially if you're looking for the original cover with Gaudi's architecture), but well worth the time and effort spent tracking it down. The extended title track may be rough going at first, but speaking for Joe's fans we can be thankful these dates were saved for posterity. Once again, this album is definitely not for first-timers, nor is it background music. Recorded in a German studio in 1978, these showcase Joe at his minimalistic best: no drums, just Joe's wonderful soloing backed by Darling's bass. The album's other two tracks, 'Mediterranean Sun' and 'Y Yo La Quiero' both run about five minutes each, and are much more accessible. The audience seems mesmerized until the very end, and occasionally Joe will stray from his mike, but otherwise the sound is good for a not-very-high-profile live recording. Part 2 is fast and ferocious, and includes Soph's solo. Drummer Ed Soph soon joins in, and this sprawling track moves through a variety of moods, including a very rhythmic section at the 13-minute mark. It opens with a long, occasionally abrasive duet between Henderson and bassist Wayne Darling, who arco playing summons a Vitous-like fury. The 28-minute title track is divided into two parts (to accommodate its original pressing on vinyl) and was recorded at Wichita State University in 1977. Simultaneously, it is also an experiment in minimalism (just sax/bass/drums), yet one that will repay repeated listening, especially for those who are already familiar with Joe's style. While casual listeners might immediately dismiss it as avant-garde, Barcelona is actually an improvisatory, exploratory statement that might best be described as THORNY. Let it be known this album is nothing like the string of tribute albums he released in the 1990's that resurrected his career. If you're a Joe Henderson fan, his 1980 (re-released twice since) trio album Barcelona can be recommended but with one caveat.

Joe henderson power to the people