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	Joe McPhee : Features : One Final Note
		Joe McPhee, Fred Lonberg-Holm, and Michael Zerang stopped by Luna in DePere for a Center for Artistic Collaboration and Performance (CACP) concert on May 4, 2005, two days before starting a tour with the Peter Brötzmann Tentet.
		Although the entire concert was dynamite, hardly a revelation to anyone remotely aware of the talent assembled in the room, I and most of the listeners kind of hoped the lights would have stayed off—it was something else.
		McPhee had also just completed a European tour with Brötzmann, which explains the first answer and its brevity.
	www.onefinalnote.com /features/2005/mcphee (724 words)

	Joe Henderson -- Facts, Info, and Encyclopedia article (Site not responding. Last check: )
		Joe Henderson (April 24, 1937 - June 30, 2001) was an (A native or inhabitant of the United States) American (A genre of popular music that originated in New Orleans around 1900 and developed through increasingly complex styles) jazz (An adult male with a tenor voice) tenor (A musician who plays the saxophone) saxophonist.
		One of fifteen children, Joe was encouraged by his parents and an older brother to study music.
		Blue Note attempted to position Joe at the forefront of a resurgent jazz scene in 1986 with the release of "State of the Tenor." While the album featured the most notable tenor trio since (additional info and facts about Sonny Rollins) Sonny Rollins' in 1957, insufficient support from Blue Note prevented wider renown.
	www.absoluteastronomy.com /encyclopedia/J/Jo/Joe_Henderson.htm (798 words)

	McPHEE, Joe : MusicWeb Encyclopaedia of Popular Music (Site not responding. Last check: )
		McPhee is an enterprising interpreter of classic jazz composers (Benny Golson, Wayne Shorter, Charles Mingus), a skill utilized to great effect on Impressions Of Jimmy Giuffre '91 on Celp.
		Although somewhat apart from the avant-garde mainstream, McPhee is one of the most compelling figures in contemporary improvised music, combining and extending energetic '60s free jazz with the chillier abstractions of the '70s.
		McPhee is superbly recorded on the new CIMP label: on trumpet on The Redwood Session '95, with Evan Parker, Barry Guy on bass and Paul Lytton on drums, and several instruments on his own Legend Street One and Two, with Frank Lowe, Charles Moffett and violinist David Prentice.
	www.musicweb-international.com /encyclopaedia/m/M73.HTM (333 words)

	Baltimore City Paper: MUSIC The Prolific "Po Music" of Joe McPhee (Site not responding. Last check: )
		Joe McPhee is at the end of the line.
		McPhee's music is steeped in the traditions of jazz but often stripped of the genre's conventional ingredients, such as swing.
		McPhee continues to travel frequently; he recently flew to Europe for a brief stint with the Peter Brötzmann Tentet and will jump across the pond again at the end of November for various other shows.
	www.citypaper.com /1999-11-10/music.html (1111 words)

	Joe McPhee - Nation Time (Atavistic)
		McPhee, standing with his tenor sax, was a BAD dude.
		Nation Time is one of four McPhee records in the series, and it showcases a successful compositional style and skillful improvisation.
		McPhee is really remarkable in his ability to improvise jazz that is so vibrant.
	www.fakejazz.com /reviews/2000/mcphee.shtml (420 words)

	Joe McPhee Bio (Site not responding. Last check: )
		McPhee continued on that instrument through high school and then in a U.S. Army band stationed in Germany; during his army stint he was first introduced to traditional jazz.
		Although his work was well documented on Hat Hut, McPhee remained relatively unknown in the United States as the 1980s progressed and he went on hiatus to care for his aging parents.
		McPhee reemerged into the performing and recording world during the 1990s and finally began to attract wider attention from the North American creative jazz community as he performed and recorded prodigiously as both leader and collaborator.
	www.drimala.com /artists/mcphee.htm (375 words)

	CD Review of Joe McPhee - As Serious as Your Life on Hat Hut Records @ jazzreview.com
		Joe McPhee's, AS SERIOUS AS YOUR LIFE, whose title is taken from Valerie Wilmer's book of the same name, is a solo recording, over twenty years after his first solo LP.
		Joe's mastery of reeds and trumpet, and piano is incomparable.
		The way the music develops has everything to do with Joe's adherence to PO, a form of creativity originally propounded by the psychologist, Edward de Bono (especially heard in, TOK, which I imagine, is a version of the word "talk", suited to the musical "language" of the tenor saxophone).
	www.jazzreview.com /cdreview.cfm?ID=765 (451 words)

	Jump Arts Journal - Records
		From the opening incisive retorts by Evan Parker and Joe McPhee, it is clear that something special is happening during this highly refined demonstration of interpersonal communication.
		Parker and McPhee engage in 11 debates during the course of the recording.
		McPhee and Parker are two dominant leaders, but they display remarkable talent on this recording for sharing the command.
	www.jumparts.org /records8.html (353 words)

	Joe McPhee/Dominic Duval - Honesty
		McPhee's progress has been well documented on recordings beginning in 1969; first on his own CJR label, later on the Swiss hat Hut label.
		McPhee was already completely fluent in the double assault of brass and reeds at this early date; his clarion trumpet sound had no problem blasting out over Bostic's crashing assault and his tenor was as gutsy and fully realized on this debut as was that of most others already established.
		McPhee is still most fleet and at his technical best on soprano but his tenor still carries the emotional edge and energetic cry as it did thirty years ago.
	www.furious.com /perfect/mcpheeduval.html (1533 words)

	Gastbeiträge - Joe McPhee
		My point in summarizing Fish's argument is to consider McPhee's achievement not only in the stylistic breadth of his playing but also in the conceptual breadth of his music-making.
		Although he had been playing trumpet since he was a child, McPhee didn't pick up the saxophone until 1968, and his tenor playing on Underground Railroad reveals a musician thrillingly fast out of the gate.
		Regardless, the extent to which McPhee blends with the group is both funny and inspiring.
	www.le-musterkoffer.de /gast/mcphee01.html (741 words)

	Joe McPhee - Wikipedia, the free encyclopedia
		Joe McPhee (born November 3, 1939 Miami, Florida) is an American jazz musician.
		He performs on trumpet, valve trombone, flugelhorn and various saxophones.
		McPhee style is close to free jazz and so he has recorded or performed with Ken Vandermark, Peter Brotzmann, Evan Parker and many others.
	en.wikipedia.org /wiki/Joe_McPhee (73 words)

	Joe McPhee - Biography
		McPhee continued on that instrument through high school and then in a U.S. Army band stationed in Germany; during his Army stint, he was first introduced to traditional jazz.
		McPhee’s first recordings as leader appeared on the CjR label, founded in 1969 by painter Craig Johnson.
		McPhee also began a fruitful relationship with Chicago reedman Ken Vandermark, engaging in a set of improvisational dialogues with Vandermark and bassist Kent Kessler on the 1998 Okkadisk CD A Meeting in Chicago.
	www.joemcphee.com /joe1.html (609 words)

	Joe McPhee - Free Music Downloads, Videos, CDs, MP3s, Bio, Merchandise and Links
		Although his work was well documented on Hat Hut, McPhee had never secured a contract with a United States-based label and was still a relative unknown in his home country as the 1980s progressed and he went on hiatus to care for his aging parents.
		McPhee re-emerged into the performing and recording world during the 1990s and finally began to attract wider attention from the North American creative jazz community.
		McPhee also began a fruitful relationship with Chicago reedman Ken Vandermark, engaging in a set of improvisational dialogues with Vandermark and bassist Kent Kessler on the 1998 Okkadisk CD A Meeting in Chicago.
	www.artistdirect.com /nad/music/artist/bio/0,,466670,00.html (799 words)

	BBC - Jazz Review - Joe McPhee/Joe Giardullo, Specific Gravity
		Joe McPhee's childhood instrument was the trumpet (which he took up at the age of eight) but his earliest recordings in the late 1960's featured his work on tenor sax.
		This CD is a recording of a 1997 radio broadcast for WPKN, Bridgeport, Connecticut, consisting of duets between McPhee and Joe Giardullo.
		With McPhee, it's the heady mixture of outside and inside, of experimentation and tradition, and of technique and imagination, which gives his music its character.
	www.bbc.co.uk /music/jazz/reviews/mcphee_specific.shtml (632 words)

	Joe McPhee
		Many of McPhee's early recordings as a bandleader, including Underground Railroad (1969), Nation Time (1970), and Trinity (1971) (all originally on the obscure CjR label), are informed by the Black Power movement of the '60s and '70s.
		As McPhee puts it in the album's liner notes, Baraka's answer to the question "What time is it?" was "nation time" -- that is, time to build an ideological and political nation of fl solidarity.
		The trio referred to itself as "Survival Unit II." For McPhee the recording was a formal breakthrough on the tenor sax, as the presence of the other two players and absence of the traditional bassist liberated his improvisations.
	www.epitonic.com /artists/joemcphee.html (609 words)

	Jazz Viewpoint Joe McPhee @ jazzreview.com
		What Joe does in his music making personifies the creative process, bears witness to going to extremes, but also, to falling into place where the new sound elements being dealt with are collected and ordered to a certain degree.
		Within one piece, Joe comes full circle to rest within the spirit which is pure energy, encapsulated in THIS life only briefly---to radiate out with no attachment, to become one with the universal soul--- as the air blown through a valved tube of metal, frequently, the saxophone.
		McPhee held onto long notes, made one transition after another, established a mellifluous melody that spoke a beat every once in a while and then went out.
	www.jazzreview.com /articleprint.cfm?ID=455 (1303 words)

	OkkaDisk: Joe McPhee & Ken Vandermark: Interview
		Based in Poughkeepsie, N.Y., McPhee was already active in the late ’60s, as New York City’s originary free-jazz movement was transforming into the so-called “loft scene” of the subsequent decade.
		McPhee barely played in New York; instead, working with tenor and soprano saxophones, pocket-cornet and valve-trombone, he made his mark with a series of records for the Swiss hat Hut label (specifically established as an outlet for McPhee’s music), forging lasting musical relationships with a core group of European musicians.
		Joe McPhee uses a Selmer Balanced Action tenor with Otto Link 95/0 mouthpiece and soft Bari tenor reeds; his soprano is a Selmer Super Action 80 with a Selmer CL mouthpiece and Rico Royal #2 1/2 reeds.
	www.okkadisk.com /articles/downbeat199.html (2632 words)

	Joe McPhee/Philip Gelb/Davey Williams trio (Site not responding. Last check: )
		Joe McPhee attended that concert and for the first time we met in person.
		The next night I sat in with Joe's quartet in a concert in a 19th century train station in Accord, New York.
		Joe planned a trip to Florida a couple of months later and we discussed doing some gigs together.
	www.philipgelb.com /projects/trio.html (151 words)

	The Deep Listening® Catalog - JOE MCPHEE
		McPhee's paradigm evolves from the work of philosopher Edward de Bono, whose concept of Lateral Thinking is an aesthetic based on the notion of "provocation" as a source of improvisational cues.
		Derived from words like possible, positive, poetry and hypothesis, the word PO is used as a language indicator to show that the process of provocation is being used to move from one fixed set of ideas in an attempt to discover new ones.
		During McPhee's army career from 1963-65, he studied traditional harmony and theory and was introduced, as a practioner, to the world of jazz.
	www.deeplistening.org /dlc/59mcphee.html (980 words)

	Joe McPhee - Oleo: Reviews, Track Listing, Audio Clips, and more \|\|\| Music.com (Site not responding. Last check: )
		Fans of Joe McPhee [+] were no doubt surprised to hear a tight reading of Sonny Rollins [+]' "Oleo" burst forth on the opening track and perhaps surprised yet again when, after stating the theme, Raymond Boni [+]'s wah-wah guitar suddenly sprawled over the proceedings.
		But McPhee was ever the adventurer and Oleo [+] was a statement of sorts, signaling his reluctance to be pigeonholed into one area of the avant-garde.
		Much of the remainder of the album also features McPhee coming face to face with "the tradition," either explicitly, as in his cover of Benny Golson [+]'s "I Remember Clifford," or in the relatively straightforward thematic material of his own pieces.
	www.music.com /release/oleo/2 (354 words)

	Trinity, MP3 Album Music Download at eMusic (Site not responding. Last check: )
		Trinity is the second installment of Joe McPhee's early work that's been re-released in Atavistic's wonderful Unheard Music series of extremely worthy yet rarely noted music originally recorded on LP.
		(McPhee's first album, Underground Railroad, was recorded in a monastery.) It is also worthy to note that, at nearly an hour of playing time, the original recordings had to be "groove-crammed" to make them fit on a single vinyl LP without the needle jumping out of the grooves.
		McPhee's tenor playing here is reminiscent of Jerry Butler if he were an "out" soul singer.
	www.emusic.com /album/10745/10745419.html (697 words)

	* Dusted Reviews - Joe McPhee with the Bill Smith Ensemble *
		Despite relying mainly on unknowns to fill out his ensembles, McPhee manages to keep a surprising level of consistency; he is one of those bandleaders who know how to mold a player to fit his needs.
		With their conjuring done, McPhee and company move on to other spiritual issues, those of loss and redemption, and then finally allow Ayler to return from whence he came.
		McPhee the talent scout succeeds again: Ayler serves as an ideal sideman on Visitations, his recycled sound molded to create a remarkable record full of nuance, while the Bill Smith Ensemble, as is always the case with a McPhee group, would soon fade back into obscurity.
	www.dustedmagazine.com /reviews/931 (694 words)

	Nation Time - Joe McPhee
		Joe McPhee is, by the evidence presented on this CD, one of the truly great musicians of the postwar era, and probably one of the most criminally ignored.
		This disc, originally released on Cj Records in 1971 and only now emerging on CD due to the strenuous efforts of Chicago's Atavistic Records, is a true sonic landmark, and deserves a much wider audience than it ever could have gained in the pre-digital era.
		As such, it is probably the least satisfying of the three selections, but as it is half the length of the others, and given the power and fury and genius of the album as a whole, it is a small fault.
	www.culturevulture.net /Books/nationTime.htm (607 words)

	Joe McPhee: N.Y.N.Y.1971 & Pieces of Light (1974)
		Joe McPhee might be the truest living heir to Traneâs mantle.
		McPhee at times anticipates and complements the limited wave forms of his playing partner, but the two donât try to mimic or play on top of each other.
		Personnel: Joe McPhee: tenor saxophone, trumpet; Byron Morris: alto and soprano saxophones; Clifford Thornton: baritone horn; Mike Kull: piano; Harold E. Smith: drums.
	www.allaboutjazz.com /php/article.php?id=23337 (689 words)

	Joe McPhee MP3 Downloads - Joe McPhee Music Downloads - Joe McPhee Music Videos
		Although his work was well documented on Hat Hut, McPhee had never secured a contract with a United States-based label and was still a relative unknown in his home country as the 1980s progressed and he went on hiatus to care for his aging parents.
		McPhee re-emerged into the performing and recording world during the 1990s and finally began to attract wider attention from the North American creative jazz community.
		With a career now spanning over 30 years and roughly 50 recordings, Joe McPhee has shown that emotional content and theoretical underpinnings are thoroughly compatible -- and in fact, a critically important pairing -- in the world of creative improvised music.
	www.mp3.com /artist/joe-mcphee/summary (1088 words)

	Joe McPhee Discography
		Joe McPhee, Dominic Duval, Rosi Hertlein, Jay Rosen
		Mat and Joe Maneri w/ Joe McPhee, Ed Schuller, and Randy Peterson, Framingham, Mass.
		Joe McPhee w/ Michael Bisio, Dominic Duval, Jay Rosen, guest Roy Campbell, Jr., in concert, NYC
	www.joemcphee.com /joe3.html (1315 words)

	Bagatellen: McPhee at The Stone
		On top of the deep private significance of the evening to McPhee and some of his devoted fans, I experienced a feeling of birth-celebration for The Stone, a new space in Manhattan's lower east side founded by John Zorn to host the the communion rituals of creative musicians and creative listeners.
		It was the now-legendary first-ever McPhee concert in Chicago and the first day Joe ever played with Ken Vandermark and Kent Kessler, soon to become staple collaborators as Joe's career was steadily revitalized in association with this new slew of worthy partners.
		Gilles Laheurte, the intimate friend of Steve Lacy whose friendship with Joe goes beyond their mutual trepidation in playing soprano sax to embrace a similar multi-instrumentalism on reeds and brass, was warmly effusive in his gratitude for the inspiration the set gave him to try new things in his own playing.
	www.bagatellen.com /archives/frontpage/000866.html (3229 words)

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