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Joe Henderson is a name many casual jazz fans recognize, but many are not all that familiar with his work. Combining the hard bop abilites of players like Dexter Gordon or Johnny Griffin with the technique and harmonic conception of Coltrane and the rhythmic sophistication of Sonny Rollins, Henderson is one of the best tenor players to have recorded and performed through the 1960s and 70s, continuing to develop as a player and, eventually, a teacher, through the 80s and 90s until his death in 2001.

From 1962 to 1967, Henderson recorded a large number of dates for Blue Note, including work with Horace Silver, Herbie Hancock, and Andrew Hill. He also worked, briefly, with the Miles Davis quintet that included Hancock, Ron Carter, and Tony Williams. Though the band was (unfortunately) never recorded, Henderson reportedly was well received by audiences. During this same time, he also produced a number of recordings as a leader, featuring his own compositions and arrangements, including In ‘n Out, Inner Urge, and The Kicker.

Starting in 1968, Henderson recorded a series of albums for Orrin Keepnews’ Milestone label, an association that continued through 1976. This was a new period in Henderson’s career, one that found him experimenting with more avant-garde musical ideas, fusion and funk, studio overdubbing, and further electronic effects. Yet through it all, he remained completely himself, developing a recognizable style and sound that always remained at the center of his work.

Henderson’s Milestone Profiles kicks off with the easy Latin beat of “Mamacita” featuring Grachan Moncur on trombone, Kenny Barron at the piano, and Ron Carter on bass. From 1967’s The Kicker album, it shows Henderson’s hard bop roots as well as his arranging abilities. Henderson’s solo is full-throated and authoritative, even though it’s short—only Henderson and Barron solo, and the entire piece is only three and a half minutes in length. Next is Henderson’s “Black Narcissus” from the Power to the People album, with Herbie Hancock on electric piano, and Ron Carter and Jack DeJohnette rounding out the rhythm section. Henderson shows his ability to ‘play pretty’ here, but it’s not a tentative sound at all, merely one that can be hushed when the time is right. In 1969 Hancock was forging the electric piano’s sound and place in jazz, along with Chick Corea and Joe Zawinul, and his playing here is alive with the shimmering possibilities afforded by this new keyboard instrument.

“Out ‘n In” from 1971’s Joe Henderson in Japan features a Japanese rhythm section that follows Henderson’s deconstruction of Coltrane’s harmonic and conception. Unlike so many saxophonists who came along in Coltrane’s immediate wake, Henderson never seemed to have an identity crisis. He clearly had listened to Coltrane and absorbed what he wanted to from Trane’s work, but he never seemed to be trying to sound like Coltrane. Henderson further explores this facet of his playing on his 1970 version of Kenny Dorham’s classic “Blue Bossa” with Woody Shaw, George Cables on electric bass, and Lenny White on drums. “Black is the Color (Of My True Love’s Mind) is another ballad turn, this time with Georg Wadenius on guitar, Cables again on electric piano, DeJohnette on drums, Dave Holland on bass, and Airto Moreira on percussion.

The remaining tracks, save the concluding “The Bead Game,” all feature Henderson’s arrangements for larger ensembles. “No Me Esqueca” is a sextet performance with Curtis Fuller on trombone and Pete Yellen on alto sax, while “Gazelle” and “Canyon Lady” both feature much larger ensembles that allow Henderson to really show off his arranging abilities. “Gazelle” features a stuttering, stop/start funk beat courtesy of drummer Harvey Mason. Other musicians featured include Oscar Brashear, Snooky Young, George Bohanon, Don Waldrop, Hadley Caliman, Lee Ritenour, Dawili Gonga, Ron Carter, and Bill Summers. This performance, from the album Black Miracle, also features some great blowing by Henderson over the horn background. Mark Levine’s “Canyon Lady’ provides an opportunity for Henderson to display the soulful side of his playing. The group here includes Julian Priester, George Duke, Eric Gravatt, and timbales player Carmelo Garcia, who also provided the arrangement.

Joe Henderson’s Milestone Profiles entry is one of the most evenly interesting and exciting releases in the series, and will make listeners want to hear more of Henderson’s work, which is as it should be.