Probably the most obvious similarities between the "B" sections of these two Henderson classics is the almost exclusive use of Maj 7 or Maj7#11 chords (or Maj7b5, as is on the "Narcissus" lead sheet) in each tune, the lone exception being the next to last measure of "Inner Urge", where a Dominant 7th chord (could be more accurately written as Bb7 #11 13) is used to great effect, in order to create both tension and sudden variety.īecause the last 8 of "Inner Urge" is, as mentioned, already a separate post, we come back to the subject of this post, which is the last 8 bars of "Black Narcissus". Each of these Maj7#11s move down a whole step. "Inner Urge" employs the use of four 4 bar phrases for it's 16 bar "A" section starting with an F# min7b5 ( Locrian derived material most of the time A Pentatonic b3 is a good choice) for the first 4 bars, followed by FMaj7#11 for 4 bars then EbMa7#11and DbMaj7#11 for 4 bars apiece. In the case of "Black Narcissus", that means alternating adjacent diatonic m7th chords over a pedal bass for 8 bars, then repeating that scheme down a whole step for another eight. In checking out the lead sheets below, we find that each tune has a 16 bar "A" section of slow moving, modal type harmony. When doing a comparison analysis of "Black Narcissus" and "Inner Urge", the first thing I noticed about each of these tunes is the total absence of any ii-Vs in either one. At that point, I realized that this simple sounding tune necessitated some closer scrutiny especially after hearing many improvisers trying to "ramrod" their way through the last eight measure, "B" section of the tune. I had heard different versions of "Black Narcissus" for years before actually trying to learn it myself. It has since been covered by many by other artists.Īlthough completely different in emotional intent, scope and style, "Black Narcissus" has striking similarities in compositional structure, as well as harmonic usage, to another one of Henderson's classics, and the subject of an earlier post namely, " Inner Urge". That includes the 1974 version, recorded in Paris and featured on the album of the same name.
Originally recorded on and released as part of Henderson's album " Power to the People" (which included Herbie Hancock, Ron Carter and Jack De Johnette) on the Milestone label, Joe recorded it several times subsequently. The following two tunes (one of it being another re-take from Power To The People) are even more spacy with their solo improv debauchery refracted by squelching, buzzing and ringing synth FX.Joe Henderson's " Black Narcissus" is a delicate jazz waltz and one of the legendary tenor saxophonist / composer's better known compositions. Tarkovsky could have used it in Stalker for the 'floating' scenes instead of Bach. With Gleeson’s electronics all of it gets suspended in the aether. Henderson's 1969 standard (title track) is already mesmerizing with its famous waltz'y tune rotating through 16 bars of repeats over whole-tone modulatory descent and insistent pedal point. So Glesson is employing his trademark polyphonic synth magic on E-mu system, which adds interesting space age frisson to some of the tracks. I wrote about Gleeson before in relation to his lesser-known solo endeavour "Rainbow Delta", which is a nice listen as well. His machines are all over "Crossings" and "Sextant". Early ARP 2600 adopter and one time producer of Devo. Last, but not least we have another Hancock associate - synth man Patrick Gleeson. Jenny-Clark who had a parallel career playing high modernist concoctions by the likes of Stockhausen, Berio and Boulez.Īlso participating are Daniel Humair (drums) and Herbie Hancock's percussionist Bill Summers. Recorded mostly in Paris with German pianist Joachim Kühn and his frequent associate French bassist J.F. I consider it Henderson's most refined 1970s moment. Henderson's final 11th (or 12th if you count The Kicker) installment for Milestone.
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