Resonance releasing unissued live recordings by Joe Henderson, Yusef Lateef, Mal Waldron

Joe Henderson's Consonance 3LP set kicks off a series of Resonance releases from Joe Segal's Jazz Showcase club archives.

Here's the scoop...

UNISSUED JOE HENDERSON LIVE at JOE SEGAL'S JAZZ SHOWCASE in 1978! This is a major announcement for Resonance. Producer and Resonance co-president, Zev Feldman, began going through the massive tape archives of the legendary jazz impresario of Chicago, Joe Segal, back in 2011. Now, 15 years later, Resonance Records is launching a series of releases from Joe Segal's Jazz Showcase for Record Store Day (April 18, 2026) starting with Joe Henderson "Consonance: Live at the Jazz Showcase."

This is the first-ever release of saxophone titan Joe Henderson and his quartet featuring pianist Joanne Brackeen, bassist Steve Rodby and drummer Danny Spencer captured live at Joe Segal's Jazz Showcase in Chicago, IL in February of 1978. The limited-edition 180-gram 3-LP (and 2-CD, out April 24th) set was mastered from the original tapes by engineer and Resonance founder George Klabin and Resonance general counsel and co-producer of this album, John Koenig, with lacquers cut by Matthew Lutthans at The Mastering Lab in Salina, KS, and pressed at Quebec's boutique audiophile pressing plant Le Vinylist.

This is part of Resonance's debut launch of releases from Joe Segal's Jazz Showcase, marking the beginning of what will hopefully be a long line of incredible releases from the club's archives. The deluxe package includes newly curated liner notes by John Koenig, plus interviews with Joanne Brackeen, Steve Rodby, Danny Spencer, Joe Segal's son Wayne Segal and more. The striking cover photo was taken by Raymond Ross (CTSIMAGES), with design by Burton Yount.

JOE HENDERSON - CONSONANCE: LIVE AT THE JAZZ SHOWCASE

A1 - Mr. P. C. (24:00)

B1 - Inner Urge (26:46)

C1 - Invitation (22:15)

C2 - Relaxin' at Camarillo (7:41)

D1 - Recorda Me (23:33)

E1 - 'Round Midnight (16:10)

E2 - Good Morning Heartache (9:30)

F1 - Softly, As In A Morning Sunrise (23:39)

F2 - Isotope (6:37)

• Resonance’s First Release from Joe Segal’s Extensive Archives Captures a Master at Full Stretch
• Limited-Edition 180 gram 3-LP package with liner notes by John Koenig, reflections by musicians on the album: Joanne Brackeen, Steve Rodby, Danny Spencer, plus Jazz Showcase owner Joe Segal’s son Wayne Segal
• Available Exclusively for Record Store Day on April 18, 2026
• 2000 vinyl copies

Some nights don’t just fade away after the last note has dissipated. They linger in the marrow, waiting for the right moment to be heard again. Consonance: Live at the Jazz Showcase is one of those nights. Recorded in February of 1978 at Joe Segal’s storied Jazz Showcase in Chicago, this newly unearthed performance captures saxophone titan Joe Henderson in bracing communion with a quartet that knew how to listen as hard as it played. Nearly five decades later, the music arrives as a revelation. It feels alive, active, and fiercely contemporary.

This limited-edition, 180-gram 3-LP set marks Resonance’s first-ever release from the Jazz Showcase archives, inaugurating a new chapter in producer Zev Feldman’s archival mission.

“Joe's archives comprise one of the greatest libraries of previously unissued jazz recordings in existence and we're very lucky that these documents were made and preserved,” says Feldman, who first discovered the treasure trove of recordings when he was introduced to Segal in 2011. The vinyl will be available for Record Store Day, April 18, 2026 with a 2-CD set to follow on April 24, what would have been Joe Segal’s 100th birthday.

Mastered from the original tapes by George Klabin and John Koenig, with lacquers cut by Matthew Lutthans at The Mastering Lab in Salina, Kansas, and pressed at Quebec’s boutique audiophile plant Le Vinylist, Consonance brings Henderson’s sound into the room with startling presence.

By 1978, Henderson had long since secured his place in the pantheon of jazz royalty. But categorizing him by era misses the point. His greatness wasn’t static, and he had the rare ability to be of his time without being trapped by it, to absorb the currents around him and redirect them through a singular voice. On Consonance, Henderson stands at a crossroads — post-bop wisdom in one hand, a restless future in the other — testing the strength of melody and rhythm in real time.

The quartet is essential to that alchemy. Pianist Joanne Brackeen brings a crystalline intelligence to the music, her lines darting and doubling back with a logic that’s as emotional as it is analytical. Bassist Steve Rodby — years before his work with Pat Metheny would bring him wider acclaim — anchors the band with a deep, elastic pulse. Drummer Danny Spencer rounds out the group with propulsion and nuance, never crowding the space Henderson leaves open, but never letting it cool either. Together, they form a unit that thrives on risk, the kind of ensemble that understands the weight of the music.

Joe Segal’s Jazz Showcase, the setting for this encounter, was no mere backdrop. It was a proving ground and a listening room where seriousness was a prerequisite and flash alone wouldn’t save you. Segal, a tireless advocate for the music, built a sanctuary for artists to stretch out and work through ideas in front of an audience that knew how to hold silence. The room’s intimacy sharpened the exchange between band and crowd, a feedback loop of concentration and release that’s palpable on tape.

Consonance is the sound of Henderson responding to that environment — probing, pressing, then laying back just enough to let the music breathe. His tenor carries that unmistakable mix of muscle and mercy: a burnished tone that can cut through steel, then soften into a whisper without losing authority. He phrases like someone telling the truth slowly, not leaving room for interruption. There’s urgency here, but also patience, and confidence that will give you everything.

The deluxe package deepens that story with newly curated liner notes by co-producer John Koenig, alongside interviews with Brackeen, Rodby, Spencer, and Wayne Segal, son of Joe Segal. Their reflections sketch a fuller portrait of the night and the ecosystem that made it possible: the trust between musicians, the discipline of the room, and the sense that something important could happen if everyone stayed present long enough.

For Brackeen, the date stands as a testament to Henderson’s generosity as a bandleader; his willingness to invite ideas rather than dictate them. Rodby recalls the elasticity of the set, how the music seemed to lengthen and contract in response to the moment. Spencer speaks to the balance required to drive the band without overwhelming it. And Wayne Segal situates the performance within his father’s lifelong commitment to creating space for artists to be fully themselves. These voices don’t annotate the music so much as echo it, extending the conversation across time.

Consonance feels especially vital now as it reframes Henderson as both a monument and collaborator. It reminds us that Henderson’s brilliance wasn’t just in his compositions or his résumé, but in his capacity to meet musicians where they were, and then push them somewhere new.

The sound quality honours the performance as well. Klabin and Koenig’s mastering preserves the dynamic range and tonal depth of the original tapes, while Lutthans’ lacquers translate that fidelity into a vinyl experience that rewards close listening. Le Vinylist’s pressing completes the chain with quiet surfaces and weighty presence, the kind that invites you to drop the needle and stay awhile.

As Resonance’s first release from the Jazz Showcase archives, Consonance sets a high bar and signals a future rich with possibility. These recordings are dispatched from rooms where the music was still being figured out, night by night. And to hear Henderson in that context is to understand jazz as a living practice that resists closure even as it accumulates history.

In the end, Consonance: Live at the Jazz Showcase isn’t about nostalgia. It’s about the kind of continuity that resonates long after the last note fades. Through his work, Henderson asked questions with rigor and grace, and on this Chicago night in 1978, he found answers that still ring true. For listeners willing to meet the music on its own terms, the reward is profound: a front-row seat to a master at work, listening forward.

Yusef Lateef – Alight Upon The Lake: Live at The Jazz Showcase

A1 - The Untitled (28:04)

B1- Mutually Exclusive (14:20)

B2 - Eboness (13:02)

C1- Inside Atlantis (19:40)

C2 - I Remember Webster (8:18)

D1- Dunia (10:21)

D2 - Opus 1 & 2 (17:09)

E1 - Golden Goddess (13:44)

E2 - Straighten Up & Fly Right (13:37)

F1- Yusef's Mood (24:00)

• Limited-Edition 180 gram 3-LP package with liner notes by Lateef biographer Herb Boyd plus an interview with Bennie Maupin 
• Available Exclusively for Record Store Day on April 18, 2026
• 1800 vinyl copies

Alight Upon the Lake: Live at the Jazz Showcase is a previously unissued recording of woodwind multi-instrumentalist icon Yusef Lateef featuring pianist Kenny Barron, bassist Bob Cunningham and drummer Albert "Tootie" Heath captured live at Joe Segal's Jazz Showcase in Chicago, IL in June of 1975. The limited-edition 180g, 3-LP set was mastered from the original tapes by engineer Matthew Lutthans at The Mastering Lab in Salina, KS, and pressed at Quebec's boutique audiophile pressing plant Le Vinylist. The deluxe package includes newly curated liner notes by Lateef biographer Herb Boyd, plus interviews with woodwind master and Lateef mentee, Bennie Maupin, Joe Segal's son Wayne Segal and more.

Kenny Dorham set recorded live in the Bronx '67 being released for RSD

Trumpet titan Kenny Dorham is in peak form at the Bronx's Blue Morocco club alongside Sonny Red, Cedar Walton, Paul Chambers & Denis Charles in 1967.

This just in from Resonance...

Blue Bossa in the Bronx: Live from the Blue Morocco, a never-before-heard live performance from master hard bop trumpeter Kenny Dorham, will be released as a two-LP set by Resonance Records for Record Store Day (April 12). The collection has been transferred from the original tape reels, mastered by Fran Gala at Resonance Records Studio, and pressed on 180-gram vinyl at 33-1/3 rpm at Le Vinylist as a limited-edition package. The storming all-star club date will also be issued as a deluxe CD on April 18.

Both LP and CD editions include notes by two-time Grammy winner Bob Blumenthal; a Dorham appreciation by Dan Morgenstern, the late director of Rutgers University’s Institute of Jazz Studies and National Endowment for the Arts Jazz Master; remembrances from trumpeters Eddie Henderson, Charles Tolliver, Steven Bernstein, and Jeremy Pelt; and more.

The collection was recorded by Bernard Drayton in 1967 at the titular New York venue, a local bar at Boston Road and 168th Street that was operated by Sylvia Robinson (previously in the hit-making duo Mickey and Sylvia) and her husband Joe; the couple went on to found the groundbreaking rap label Sugar Hill Records.

Blue Bossa in the Bronx features a hard-hitting band comprising alto saxophonist Sonny Red, pianist Cedar Walton, bassist Paul Chambers, and drummer Denis Charles. It leads off with Dorham’s best-known composition, “Blue Bossa,” first heard on Page One, tenor saxophonist and longtime bandmate Joe Henderson’s 1963 debut as a leader. The repertoire also includes an untitled blues by Dorham, numbers originated by Charlie Parker, Milt Jackson, and Miles Davis, and the standards “Memories of You” and “My One and Only Love.”

The award-winning producer and Resonance co-president Zev Feldman says of his latest archival find, “As I write this in 2024, the jazz world is marking the centenary of Kenny Dorham’s birth. I hope this recording will further cement his stature as a major figure during an important period in the development of modern jazz.” 

In his notes, Blumenthal eloquently measures Dorham’s towering stature in jazz history, situating him among the music’s greats: “Underrated. Deserving of wider recognition. Musicians' musician. In Art Blakey's memorable phrase, ‘the uncrowned king.’ These were the labels that Kenny Dorham carried throughout his career and that continue to linger over his legacy. A vital presence in jazz for over a quarter century and a valued collaborator with most of the period's creative forces, he never won a poll or acquired enough star power to sustain a working band or become a commercial draw.

“Part of the problem,” he continues, “was Dorham's fate to succeed more charismatic figures in historic groups. He followed both Dizzy Gillespie and Fats Navarro, whom he considered ‘the two most outstanding trumpet players in jazz history, if not trumpet history,’ when he became the featured soloist in Billy Eckstine's orchestra. He became Charlie Parker's front-line partner after Miles Davis left. He succeeded Clifford Brown, whom he characterized as ‘the youngest player in trumpet history to achieve musical maturity,’ not once but twice — first in the Art Blakey/Horace Silver unit that became the Jazz Messengers and then, after Brown's death, in the Max Roach band.”

 In one of the last interviews he gave before his death at 94 in September 2024, Morgenstern said, “Kenny’s legacy is in his recordings. And there’s a lot of great stuff. I think there are very few recordings by Kenny that are not worth listening to. And he was a good partner on the front line. He was a good partner to his saxophonists. He was different from many of the musicians who were contemporary with him, trumpet players. He was more thoughtful and he was more melodic. And he had a great sound. I was very fond of him. To sum it up, Kenny was one of my favorite modern trumpeters.”

A chorus of great trumpeters testify to Dorham’s enduring influence. “From hearing Kenny's first note, I realized that he had a very distinctive sound, to say nothing of the melodic flow he had,” Eddie Henderson says. "It was so lyrical. His sound stood out from all the other trumpet players. Each of my heroes — Clifford Brown, Fats Navarro, Lee Morgan, Freddie Hubbard, they all had the sound, but Kenny could hit just one note, bingo — you knew it was him. Miles Davis had his sound, but Kenny was one of the heavyweights of that generation.”

Tolliver recalls, “Having broken in in 1964, by 1967 I had met and/or played with all the supporting participants of KD on these recordings.  Birks, of course, sits at the throne, but KD was also one of my trumpet heroes in my youth. Though somewhat coming out of Birks/Fats, KD crafted and possessed a style and delivery inimitable to all other trumpeters before or after — tone, attack, theory, execution, ‘turnarounds.’”

“The thing about Kenny Dorham,” says Bernstein, “is that you could tell it was him in one note. And that’s hard to do on the trumpet. The trumpet’s a difficult instrument to play in general. People of Kenny Dorham's era and before played in big bands, so you had to be able to blend with other big-band players. You were required to have a certain kind of sound that matched the big band. Kenny was one of the first guys who had a sound not like that. His sound was so unique that you could hear one note and you knew, ‘Well, that’s Kenny Dorham.’ He also had what people used to call turnbacks; they call them turnarounds now. Turnarounds are a way to get from one chord to another chord and Kenny had a really singular way of doing turnarounds.”

Pelt enthuses, “Kenny Dorham had an obvious knack for melody. He displayed a keen melodic focus in his playing, which was also quite lyrical. His harmonic sense was what we call slick. He was playing inside of the harmony. It's a distinctive thing with Kenny — the way he plays inside the chord. I don't mean slick in a bad way. It's slick in like wow!”

Recordist Drayton says of the special qualities of his newly unearthed tapes, “When this show was recorded, Kenny was so highly regarded among musicians that even though he didn't have a regular band, he was always able to get the best musicians available to play with him. The performances that night were right there. The vibe was just one of those KD vibes. For a guy who wasn't able to play on a regular basis owing to his health issues, he was on fire and so was the band. As I said, it was a dream fulfilled for me.”

Watch a preview mini-documentary followed by Kenny Dorham and crew performing the classic "Blue Bossa"

Charles Mingus in Argentina: The Buenos Aires Concerts due for RSD release

Resonance's limited-edition 3LP set Mingus In Argentina is due for Record Store Day on April 12th. Watch a preview clip below.

This just in from Resonance Records...

"Mingus In Argentina: The Buenos Aires Concerts" is a never-before-released pair of recordings of legendary bassist Charles Mingus captured live in Buenos Aires, Argentina in June 1977 featuring Ricky Ford (tenor saxophone), Jack Walrath (trumpet), Robert Neloms (piano) and Dannie Richmond (drums). Transferred from the original tape reels that were recorded by engineer Carlos Melero, the limited-edition 180-gram 3-LP set is mastered for vinyl by Matthew Lutthans at The Mastering Lab and pressed at 33 1/3 RPM at Le Vinylist. The elaborate booklet includes liner notes by author and jazz historian Brian Priestley; plus interviews with Ricky Ford and Jack Walrath. This is an official release in cooperation with Jazz Workshop, Inc. and the Charles Mingus Estate. Watch the preview clip and a WCB Jazz Vinyl podcast review following the track listing below. 

Charles Mingus In Argentina: The Buenos Aires Concerts

1. Introduction 

2. Goodbye Pork Pie Hat 

3. Duke Ellington’s Sound of Love 

4. Noddin’ Ya Head Blues

5. Three or Four Shades of Blue

6. Koko/Cherokee

7. For Harry Carney

8. Cumbia & Jazz Fusion

9. Solo Piano Improvisation (Performed by Charles Mingus)

10. Sue's Changes (Incomplete)

11. Koko/Cherokee/Band Intros

12. Fables of Faubus

13. Solo Piano Improvisation (Performed by Charles Mingus)

Tracks 1-9 recorded on June 2, 1977 at the Teatro Coliseo in Buenos Aires, Argentina

Tracks 10-14 recorded on June 3, 1977 at the Teatro SHA (Sociedad Hebraica Argentina) in Buenos Aires, Argentina)

Resonance to issue Larry Young's "lost" Paris sessions for Record Store Day

Titled “Selections from Larry Young In Paris - The ORTF Recordings”,  the Resonance Records 10-inch album represents just a sampling of Larry Young's previously unissued live and studio recordings cut while the jazz pianist/keyboardist was living in Paris back in 1964-65.

The tapes were discovered by Resonance's executive vice president and general manager Zev Feldman back in 2012 while rooting around the archives of France's National Audiovisual Institute (INA) where they'd been collecting dust in the vault of the Office of Radio and Television (ORTF) for almost 50 years.

On the four tracks included on the Selections sampler, namely Beyond All Limits, Luny Tune, Frame of Thought and Larry’s Blues, Young is joined by a stellar group with Woody Shaw on trumpet, Billy Brooks on drums and the enormously underrated Nathan Davis on saxophone.

Resonance's release of the 140-gram Selections from Larry Young In Paris - The ORTF Recordings 10-inch (cut at 33 1/3 RPM by Erika Records) is limited to 1500 copies available on Record Store Day April 18 which will eventually be followed by an expanded 2 CD and 3 LP full-length edition at a later date.

What may be just as exciting to spiritual jazz fans around the globe is the news that Feldman's vault dig also turned up some Nathan Davis Quartet recordings from the same period. Hopefully they will be released in full by Resonance or another reissue operation like say Jazzman Records which appreciates their historical importance.

While were on the subject of archival jazz projects, Resonance is releasing a 26-track collection of rare early recordings (1948-53) by guitar great Wes Montgomery called In The Beginning as 2 CD or 3 LP package on May 12. Along with newly discovered 78 sides Montgomery cut as a sideman for Spire Records in 1949, the set will include Montgomery's complete 1955 session for Epic produced by Quincy Jones along with live recordings made at the Turf Club (1956), Missile Lounge (1958) in Indianapolis and C&C Music Lounge (1957) in Chicago.

Here's Feldman discussing Resonance's promising addition to Wes Montgomery's recorded legacy: