“Isotope” (Joe Henderson)

The variation in (atomic) number has a certain gravity and weight—of neutral or non-charges merely taking up (mental) space—which weighs heavily on the (social) scientific; it’s not totally a matter of numbers or whether majority/minority status should be instrumental but, rather, an opportunity to recalibrate and voice anew how the standard element is merely more common in particular localities. Tenor attempts a few strategies to test out spacing and position of minority embodiment: interjecting sixteenth-notes in eighth-note runs, overblowing during faster runs, and swinging without melody; and even though Tyner’s piano swings strongly, it also hesitates near its solo’s end with a three-note spike, injecting discomfort. Ending with doubled piano/tenor restatement of head—in more melodic terms—chemistry, in the form of the ceaseless experimentation without expectation, survives by de-anticipating gradualist structural development.


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