n the late 1960s and the early years of the next decade, tenor saxophonist Joe Henderson, like many of his contemporaries, was listening to such albums as Miles Davis’s and and pondering what it meant for his music. During this period, for better or worse, the rhythms and aggressive approach of rock music, including the use of electric rather than acoustic instruments, were mixing with jazz and giving birth to fusion. In hindsight, it seems inevitable that these two vital genres, both of which prize improvisation—be it on electric guitar or tenor saxophone—should become
