1. Jitterbug Waltz [Fats Waller] 9:00
2. Be Cool [Natsuko Henderson] 5:33
3. For All We Know [J. Fred Coots / Sam M. Lewis] 8:03
4. Sand Storm [Eddie Henderson] 4:54
5. By Myself [Howard Dietz / Arthur Schwartz] 9:52
6. Cantaloupe Island [Herbie Hancock] 5:23
7. Missing Miles [Al Foster] 3:58
8. Popo [Eddie Henderson] 5:53

Musicians:
Eddie Henderson - Trumpet, Flugelhorn
John Scofield - Guitar
Doug Weiss - Bass
Billy Drummond – Drums

After initially pursuing jazz fusion early in his career, Eddie Henderson has been focused on bop. This 2009 session features the trumpeter/flügelhornist with guitarist John Scofield, bassist Doug Weiss, and drummer Billy Drummond. Henderson explores several timeless compositions, conjuring a bit of Miles Davis as he plays muted trumpet in a lively workout of "Jitterbug Waltz," switching to flügelhorn for a richly textured interpretation of "For All We Know" and an extra funky setting of "Cantaloupe Island," while taking the standard "By Myself" into new territory with an abstract treatment. Henderson is back on muted trumpet for Al Foster's bittersweet ballad tribute "Missing Miles," with Scofield's soft guitar providing the perfect backdrop. The trumpeter's compositions, which include the tense bop vehicle "Sand Storm" and the playful "Popo," are matched by his wife Natsuko's infectious "Be Cool," the latter a splendid feature for the rhythm section. ---Ken Dryden, Rovi

download:  uploaded anonfiles 4shared ziddu mediafire hostuje sugarsync mixturecloud

back

A1 	Scorpio - Libra 	11:12
A2 	Mars In Libra 	8:40
B1 	Anua 	8:50
B2 	Spiritual Awakening 	2:33
B3 	Revelation - Realization 	8:00

Eddie Henderson - trumpet, flugelhorn, cornet
Bennie Maupin - bass clarinet, flute, alto flute, tenor saxophone
Herbie Hancock - electric piano
Patrick Gleeson - synthesizer, organ
Buster Williams - bass, electric bass
Billy Hart - drums, percussion
Lenny White – drums

Although the electric Herbie Hancock Sextet (and septet) left only a slim three-album discography on Warner Bros. and Columbia, you can expand it considerably by adding the two LPs that Eddie Henderson made as a leader on Capricorn -- a Georgia rock label known mostly for recording the Allman Brothers. Henderson's band is, in fact, the Hancock Septet minus Julian Priester with a second drummer (Lenny White) added, and they play the same brand of fantastic, electronically charged, intergalactic jazz-rock. Henderson extends and develops the Hancock approach, sputtering and moving laconically about in a manner greatly affected by Miles Davis but more ebullient in tone. There are five compositions here, most of them by Henderson, with a contribution from Hancock (the subtly beautiful "Revelation") and the delicately textured "Anua" from Bennie Maupin. The drumming (from White and Billy Hart) is brilliantly propulsive; Hancock logs a lot of solo time and gets to play with his Echoplex, while Patrick Gleeson slips in mind-blowing streaks and whooshes of sound from his Moog and ARP synthesizers. This is one of the great lost treasures of the jazz-rock era; the music is a bit looser than that of the Hancock records yet every bit as invigorating and forward-thrusting. [In 2005 the British Soul Brother label combined Realization and Inside Out, Eddie Henderson's second Capricorn album, onto a single-disc CD compilation entitled Anthology, Vol. 2: The Capricorn Years: Realization/Inside Out.] ---Richard S. Ginell, Rovi

I honestly believe Hancock's "Mwandishi" Trilogy's albums are possibly the best jazz fusion recordings ever. "Realization" is the album, played by the same Hancock's Mwandishi team, with RTF drummer Lenny White only added. The main difference between albums released under Hancock's name and Eddie Henderson's solo is that there on this album Eddie is soloing trumpeter on the front of the sound.

Music in general is very in Mwandishi key with spacey keyboards, slightly psychedelic sound, excellent musicianship of all collaborators (including great Lenny White drumming) and Miles Davis inspired Eddie Henderson trumpet soloing. In fact, you can think about this album's music as Mwandishi with soloing trumpeter recordings.

The time is right for such experimental jazz fusion, and all musicians are on the top of their technical and artistic form. So - you have there absolutely great album, must have release for any listener, interested in best ever jazz fusion music for his collection.Masterpiece! ---snobb, progarchives.com

download (mp3 @320 kbs):

uploaded yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea

back

1 	Explodition 	6:38
2 	The Kumquat Kids 	4:29
3 	Sunburst 	5:46
4 	Involuntary Bliss 	6:50
5 	Hop Skotch 	3:52
6 	Galaxy		6:34
7 	We End In A Dream	3:10

Eddie Henderson - Trumpet, Flugelhorn, Cornet
Bennie Maupin - Saxophone [Saxello], Saxophone [Tenor], Clarinet [Bass]
Julian Priester - Trombone, Horn [Post Horn]
George Duke - Piano [Electric], Clavinet, Synthesizer
Alphonso Johnson - Bass [Electric], Effects (1 – 6)
Buster Williams – Bass (7)
Harvey Mason – Drums (1 – 6)
Billy Hart – Drums (7)
Bobby Hutcherson – Marimba (6)

Well, I’m still not aware if Henderson had a musical professional background (he was a professional figure ice-skater and medical student, though) before being part of Herbie’s Mwandishi group (I’d imagine Hancock not hiring rookies), but since the dismantling of that magic group, its three hornmen (Maupin, Priester and Eddie) made some brilliant solo JR/F albums, this being Henderson’s second of third effort. Eddie’s first two solo effort (Realization and Inside Out) bore many Swahili-tribe skin-scars, but Sunburst kinds of disengage somewhat from that realm. Don’t get me wrong though, there are still some heavy Mwandishi friends on Sunburst as both Priester and Maupin are present, but so are Williams and Hart (for only one track, though), but check out George Duke, Hutcherson, Harvey and Alphonso’s presence as well. What a friggin’ line-up.

Despite being released on the then-fledging Blue Note album, Sunburst sports a convincing and appropriate red-hot modern artwork that describes the volcanic musical fusion. The ultra-funky opener of Explodition features a funky Alphonso bass line with Henderson’s trumpet soaring high over sun-burned soundscapes made from Duke’s Rhodes and synth, and un-credited funky guitar lines (low in the mix). The following Kumquat track could find a spot on Hancock’s Head Hunter album and it features a bit (way too few, IMHO) of Maupin’s delightful bass clarinet, while Henderson is trump(et)ing Miles’ effect-laden horn. The steaming title track might just be my fave of the album. It is a little unfortunate that the album’s lengthiest track takes a little to long to unravel its fierce nature after a tamer intro, but Duke’s keyboard works in the calmer (at first) middle section partially makes up for it. The short ultra-funky Hop scotch is the album’s weakest track, even if the musicians do strut their chops. The spacey Galaxy piece is quite a change from its preceding sister, and after a cosmic intro, Maupin’s bass clarinet is finally unleashed and running amok in the Universe’s naught. Amazing stuff!! The closing aptly-titled We End In A Dream sports a slightly different line-up and hints more at Crossing the Sextant.

Sunburst is IMHO Henderson’s last really-worthy album, as later-70’s works will shift even further out with RnB and funk, thus being increasingly mainstream, which is never good news, neither to a fan’s ears or the artiste’s wallet, because such efforts may bring a tad more revenues, but generally ruins the author’s credibility. Nevertheless, Henderson’s legacy is that he managed an outstanding trilogy of album, of which this s the last chapter. ---Sean Trane, jazzmusicarchives.com

Switching over to Blue Note, which was then reaping a fortune with Donald Byrd's R&B outfit, Eddie Henderson pursued a harder, earthier, more structured, funk-driven sound on his first album, while maintaining some of his marvelously spacier instincts for spice. Henderson continued to keep several components of the Herbie Hancock Septet together, for drummer Billy Hart, bassist Buster Williams, reedman Bennie Maupin, and now trombonist Julian Priester are back. But this time, Hancock is replaced by George Duke, and fusionaire bassist Alphonso Johnson and drummer Harvey Mason (late of the Headhunters) are added -- and these switches make much of the difference. Duke is as much of an techie as Herbie was; he delights in flaunting his Echoplex and burbling, shooting, twinkling synthesizer effects. Henderson himself is more into electronic echo and wah-wah effects than before, definitely pursuing the current Miles Davis line but in a brighter, more tonally brilliant manner, and Maupin has many impassioned and creepy (on bass clarinet) moments. The title track, a ruminative Henderson tune with a leaping funk beat, and Mason's archetypical funk workout "Hop Scotch" are the best cuts. ---Richard S. Ginell

download (mp3 @320 kbs):

yandex 4shared mega mediafire cloudmailru uplea ge.tt

back

1. 	Smoke Screen (Kenny Barron) 
2. 	Be Cool (Natsuko Henderson) 
3. 	After You’ve Gone (Turner Layton / Henry Creamer) 
4. 	Loft Funk (Mike Clark & Jed Levy) 
5. 	Fran Dance (Miles Davis) 
6. 	The Moontrane (Woody Shaw) 
7. 	Naima (John Coltrane) 
8. 	The Sand Castle Head Hunter (Donald Harrison)
9. 	Nightride (Cava Menzies) 
10. Toys (Herbie Hancock) 
11. Easy Living (Ralph Rainger & Leo Robin) 
12. Dla Juzi (Tomek Grochot)

Eddie Henderson – trumpet
Donald Harrison – sax 
Kenny Barron – piano 
Essiet Essiet – bass 
Mike Clark – drums

While being on some of the most important albums by the likes of Herbie Hancock and Billy Harper, trumpeter Eddie Henderson has lived below the radar of name recognition, which is a pity as this most recent album has the 78 year old doctor putting to shame most of the young cats around with a balance of tone, taste and pizzazz. He leads a classic sounding hard bop quintet with all stars Donald Harrison/as, Kenny Barron, Essiet Essiet/b and fellow Hancock alumnus Mike Clark/dr. The album is a textbook on how a band should, and could sound if everyone is on the right page and attitude.

Henderson takes the spotlight with his Harmon mute on a hip take of “Fran Dance” the lilts with delight, while he and Barron float on the luscious “Easy Living.” Barron jabs like Sugar Ray to Essiet’s bass on the snappy “Loft Funk” and get into a slinky bop groove on “Nightride.” Henderson with an open horn is warm and clear, creating a formidable front line with Harrison on the Latin “Smoke Screen,” showing more hip than a chiropractor on the title track and showing some moxie by digging in and kicking up the Butanes on an assertive read of John Coltrane’s “Naima.” This album is a timeless work of art. Hang it up on your wall! ---George W. Harris, jazzweekly.com

download (mp3 @320 kbs):

yandex mediafire ulozto cloudmailru gett

back