Biography
Luther Henderson bore no kinship to Fletcher Henderson, yet his extensive professional path stands among the most varied pursued by traditional jazz musicians who first surfaced on the Kansas City scene, later encompassing scores for motion pictures, television productions, and Broadway presentations. Partnerships with the Canadian Brass and conductor Sir Simon Rattle eventually returned the focus to earlier jazz repertoire, now rendered in chamber-music and symphonic-orchestra formats.
His father combined school teaching with acting, and Henderson initiated formal training at Julliard. Although arrangements became his chief calling card, he distinguished himself early as a pianist by winning a 1934 Harlem amateur competition against strong rivals. From the late 1930s until 1944 he performed alongside innovative electric guitarist Leonard Ware, followed by several years in a Navy band. By 1947 he had opened his own studio while also appearing with trumpeter Mercer Ellington’s ensemble—an association with the Ellington family that yielded notable artistic results even when personal satisfaction remained uneven.
Henderson emerged as one of Duke Ellington’s principal “classical arms,” supplying scores and orchestrations that extended well beyond conventional big-band writing. Multiple biographical accounts record his recurring dissatisfaction with the recognition granted for these contributions to the Ellington catalog, a pattern familiar in the composer’s circle where sidemen, especially brass players, frequently maintained that they had originated riffs later copyrighted under the bandleader’s name.
Henderson biographer Devra DoWrite summarized the career’s public outcome in these terms: “Luther Henderson is not a household name, not even a B-list celebrity in the eyes of the general public. Finding a publisher for his biography has been a lengthy and difficult process, but I am pleased to say that I have been offered a contract, am in negotiations right now, and hope to announce the signing very soon. Meanwhile, people are asking me ‘Luther who?’ and ‘Why him?’”
From the 1950s onward he sustained independent studios that supported a steady flow of arranging and conducting assignments. The clients ranged from vocalists Eartha Kitt and Carmen McRae to musical-comedy performers including the lovely Polly Bergen and the hilarious Victor Borge. A substantial share of this activity served the expanding television medium; Henderson contributed to the Playhouse 90 series and The Ed Sullivan Show, among other programs. On Broadway his credits included the hit productions Flower Drum Song, Funny Girl, No No Nanette, Ain’t Misbehavin’, and Jelly’s Last Jam. Shortly before his death he was designated a National Endowment for the Arts Jazz Master. He is not the Luther Henderson who played trumpet on a handful of 1920s recordings.
His father combined school teaching with acting, and Henderson initiated formal training at Julliard. Although arrangements became his chief calling card, he distinguished himself early as a pianist by winning a 1934 Harlem amateur competition against strong rivals. From the late 1930s until 1944 he performed alongside innovative electric guitarist Leonard Ware, followed by several years in a Navy band. By 1947 he had opened his own studio while also appearing with trumpeter Mercer Ellington’s ensemble—an association with the Ellington family that yielded notable artistic results even when personal satisfaction remained uneven.
Henderson emerged as one of Duke Ellington’s principal “classical arms,” supplying scores and orchestrations that extended well beyond conventional big-band writing. Multiple biographical accounts record his recurring dissatisfaction with the recognition granted for these contributions to the Ellington catalog, a pattern familiar in the composer’s circle where sidemen, especially brass players, frequently maintained that they had originated riffs later copyrighted under the bandleader’s name.
Henderson biographer Devra DoWrite summarized the career’s public outcome in these terms: “Luther Henderson is not a household name, not even a B-list celebrity in the eyes of the general public. Finding a publisher for his biography has been a lengthy and difficult process, but I am pleased to say that I have been offered a contract, am in negotiations right now, and hope to announce the signing very soon. Meanwhile, people are asking me ‘Luther who?’ and ‘Why him?’”
From the 1950s onward he sustained independent studios that supported a steady flow of arranging and conducting assignments. The clients ranged from vocalists Eartha Kitt and Carmen McRae to musical-comedy performers including the lovely Polly Bergen and the hilarious Victor Borge. A substantial share of this activity served the expanding television medium; Henderson contributed to the Playhouse 90 series and The Ed Sullivan Show, among other programs. On Broadway his credits included the hit productions Flower Drum Song, Funny Girl, No No Nanette, Ain’t Misbehavin’, and Jelly’s Last Jam. Shortly before his death he was designated a National Endowment for the Arts Jazz Master. He is not the Luther Henderson who played trumpet on a handful of 1920s recordings.
Albums
