• THE RADIUS OF THE MIND | Recorded 8/2002. The Radius of the Mind features New York saxophonist/clarinetist, Henry P. Warner with pianist, Chris Parker and Chad Anderson on drums. With the exception of two previously written compositions, the music on this recording happened totally on the spot, fully improvised in the moment. The music evokes the essense of soul from both the streets and outer space. The Radius of the Mind is now available for purchase and has been released as a special limited edition pressing. Only 150 copies are available! ***Now less than 100 copies left!***

• "This trio project suggests how Coltrane might have sounded had he concentrated his energies on alto sax and clarinet rather than tenor and soprano saxophones. Certainly during the opening clarinet feature, "Z-Moe" the repetitive triplet motif of this mid-tempo modal groove inspires flurries by drummer Chad Anderson that bring to mind Elvin Jones. Warner switches to alto sax for the rest of the session, establishing the stop-start ostinato motif of "Bridge," a piece that begins to suggest a predictable formula. However, this project intensifies with "Crankshaft," a duo performance that showcases a robust percussion dialogue between Parker on piano and Anderson on drums. From now on free improvisation provides startling proof of this trio's democratic creativity, from the intensifying dialogue of the spacey dirge "Spacesubwaysuite" to the fierce modal counterpoint of "Smiling Forehead" and the stuttering circular motif of the aptly titled "Just Like Monk." During his duo with drummer Anderson in "Taste," Warner shows rare command of post-Hemphill, post-Lake alto sax dynamics, confirming why this session is most impressive." - David Lewis, Cadence magazine, 9/2004

• "Radius of the Mind puts an older lion—reedman Henry P. Warner, who participated in the NYC loft jazz scene in the early to mid-‘70s—together with two younger lions, pianist Chris Parker and drummer Chad Anderson, in a trio that takes its inspiration from the striving spirituality of Coltrane and presents fervent solos within the framework of a truly democratic group. Warner, who has been under-recorded and under the radar for a time, backs up the image he presents—bereted, bearded, darkly shaded—with a commanding presence on alto saxophone and clarinet, with which he opens the program on “Z-Moe” in a flat, straining tone above Parker’s modal piano playing. Warner knows implicitly that a solo has to be built in order to stand on its own, and he’s pushed to some exciting ecstatic blowing by Parker as their dialogue progresses. “Bridge” is speedy and agitated, with Warner’s furious playing anchored by a repeated piano phrase. On “Spacesubwaysuite,” Warner’s alto reacts in stops and starts as Parker darts in and out of compositional spaces; Anderson’s drums shadow the two leads to form a pure three-way improvisation. The trio mixes things up a bit as Warner sits out for “Crankshaft” and Parker and Anderson run through different tempos and touches on “Taste,” a duet for alto and drums, featuring Warner’s declamatory style and generating majestic results. These players have selected their influences carefully: Coltrane, naturally; the splintered melody in homage to the master on “Just Like Monk”; and the Cecil-esque runs up and down the keys on “Smiling Forehead” (the name of drummer Hamid Drake’s publishing company). Good guides to have, and while Anderson and Parker have the chops and the sensibility to deliver rhythmic diversity, musical energy, and melodic creativity, Warner is the one whose life in music supplies the glue that bonds the three together." - Jeff Stockton, AllAboutJazz.com

• "The Vibrational Therapists feature Henry Warner on alto sax & clarinet, Chris Parker on piano and Chad Anderson drums. Although Mr. Warner's music career stretches back some forty plus years, I recall his name from the loft jazz days only vaguely. Turns out that he has worker with a long list of more noted players like Earl Freeman, Sun Ra, David Murray, Reggie Workman and Sunny Murray, as well as being on recordings by Earl Freeman, Billy Bang and William Parker. Pianist Chris Parker has also played with many folks like Frank Lacy, Michael Marcus and Warren Smith, but I recall his playing from a few recent discs with Curlew. I hadn't heard of drummer Chad Anderson before this, but he has worked with Kidd Jordan and Michael J. Stevens.
"Z-Moe" features Henry on clarinet, although it sounds more like a soprano sax. The piece has a nice modal, McCoyish sort of vibe. The trio plays well together, spinning a tasty elegant web at a medium tempo. The music here has a free yet focused flow, all three players sailing together, yet intricately connecting in layers. They sound as if they have been playing together for many years. "Crankshaft" is a most impressive duo for piano and drums, both players blending their ideas/sound into one stream, never too dense, always listening and responding together. "SpaceSubwaySuite" is a delicate, yet freer journey that unfolds most organically. I dig the way Henry can bend them notes without ever screaming, he has great control of his dynamics and tone when others would be shrieking endlessly. "Taste" is another duo, this time for alto sax and drums, and again both musicians play together intuitively, bending their notes around one another, answering each other's sentences. There is a nicely balanced spiritual center to this music, an extension of what Trane did with his later quartet, before the screaming sax(es) took over and scared away some of Trane's audience. This is some of the most beautiful free music I've heard in a long while." - Bruce Lee Gallanter, Downtown Music Gallery, NYC

• "This music keeps you guessing where its going.  I was totally into it because I didn't know where these guys were going next." - Mike Martin, Springfield, VA