Manifesto of Henryisms is trumpeter Steven Bernstein’s third in a series of four “Community Music” releases. All four are an attempt by the prolific composer to get his many arrangements out into the world. This release is of particular interest to readers of this magazine and lovers of New Orleans music because it showcases arrangements Bernstein did for the late great piano player Henry Butler.

Bernstein first saw Butler play in 1984. “He was genius-level brilliant, man,” he said, still marveling, “I couldn’t believe there was a guy who could sound like the most ancient music and the most futuristic music at the same time.” In 2013, the two musicians formed The Hot 9 and in 2014 their joint album Viper’s Drag was released. The band toured until Butler’s untimely passing in 2018.

“Henry-isms” is Bernstein’s term for the rhythmic and harmonic idiosyncrasies in Butler’s piano playing. The Hot 9 is essentially an orchestra playing old songs like “Black Bottom Stomp,” “Bogalusa Strut” and “Dipper Mouth Blues” through the modern sensibilities Butler brought to his music.

If you’ve heard one of the countless versions of “Bogalusa Strut,” you may feel like you have heard them all. But put on the Hot 9’s version and the full breadth and potential of the song becomes so obvious you will think you’ve heard it like this before. But you definitely haven’t. It’s so familiar yet so strange, sort of like hearing Henry Butler for the first time.

Space doesn’t permit naming all of the players, but the keyboard work is in great hands with Arturo O’Farrill handling the piano duties with John Medeski ably handling mostly the organ parts. Through it all, Butler’s spirit and Bernstein’s eclecticism shine like a burnished sun. “I wanted to document these arrangements,” Bernstein said, “while we still had Henry’s feeling in our bodies.”