Eddie Henderson: Witness To History

Dr. Eddie Henderson, 82 years old at the time of writing in 2023, has one of the most interesting stories in modern jazz and is a true Renaissance man. His parents were entertainers; his mother was a dancer at the original Cotton Club while his father was a member of the popular singing group Billy Williams and the Charioteers. Later, his stepfather was a doctor to Miles Davis, John Coltrane and Duke Ellington. When he was nine years old, his mother took him down to see Louis Armstrong play at the Apollo Theater where he received his first lesson in how to blow the trumpet and at 17, he got to drive with Davis (who was staying at his parent's home) every night for a week of gigs.

When he was 14, a trip to an Ice Follies show led him to decide to be a figure skater where he eventually became the first African-American to compete nationally in that event. Later, after his stepfather disparaged Henderson's intellect and told him he wasn't smart enough to be a doctor, he recalls thinking "Oh yeah? Watch me mother******!" and then says, "I went out of my way to study to be a doctor just to prove him wrong. I was still ice skating diligently and still playing the trumpet, but when I got accepted into medical school, I had to let something go: It was the figure skating."

He graduated from Howard University in Washington D.C., in 1968, with a residency in psychiatry. He recalled, "Every weekend, when I was in medical school, I would drive from DC up to New York. On Saturday, I'd be at Freddie Hubbard's house, and Sunday, I'd be at Lee Morgan's house." In 1970, he got his first permanent gig playing fusion in the Herbie Hancock Sextet.

Witness To History is a wonderful addition to the octogenarian's catalog. The opening track, "Scorpio Rising" is written as a sequel, a look back to Henderson's classic fusion track "Scorpio-Libra" off his 1973 album Realization (Capricorn Records). The band then was basically the Hancock Sextet of the time (including Lenny White who reunites with Henderson here for the first time since). Mike Clark replaces Billy Hart on the second drum chair. The track itself is cut from the same funk/fusion cloth as the original, sounding almost like an outtake from Bitches Brew (Columbia, 1970), but adds 50 years of experience that allows it to be more than just a nostalgic look back.

The only issue with it is, as the opening track of this release, it doesn't serve as a clean segue into the entirety of the album. It might have worked better as the closer, almost like a bonus track at the end of the record. But that's a minor quibble. Otherwise, this is a mainstream, straight-ahead affair. Henderson has put together a tight, versatile band where the empathy is apparent. George Cables and Donald Harrison are fellow collaborators in the all-star group The Cookers (featuring Billy Harper whom Henderson has appeared with on 15 albums). Old cohort White plays drums and Gerald Cannon is on bass.

The second track, Cables' tune "Why Not?," has the feel of Hancock's "Maiden Voyage" with the melody played in harmony by the horns before Harrison stakes his claim. Henderson continues the vibe with a solid, linear solo showing us his big sound. "I Am Going to Miss You, My Darling" is a sweet, tender ballad written by Henderson's composer wife, Natsuko. It is a gorgeous song that shows off the lyrical abilities of all the soloists.

Henderson, being a witness to history, remembers a few other trumpet players here. First, "Sweet & Lovely" is a nod to Booker Little. Changed from the original ballad to a mid-tempo waltz, Henderson is strong and thoughtful. Lee Morgan's "Totem Pole" is done in classic Blue Note era style, with the horns playing the head in harmony before the solos begin. Henderson and Harrison show great chemistry in their work together, at times seemingly completing each other's thoughts as the solo order changes

"Born to be Blue" was learned from Hubbard. It is done here with a languid, swinging feel that provides room for the horns to show their chops. George Cables is the glue and the catalyst for setting the table on the entire album. His playing is always varied, interesting and complementary. His solos are thoughtful and engaging. Everything he plays simply fits.

Miles Davis has always cast a large shadow over Henderson's history. He's acknowledged patterning his style and sound after Davis at the beginning of his career. Two tracks here show that influence. Davis' versions of the ballad "It Never Entered My Mind" and the rollicking arrangement employed on "Freedom Jazz Dance" made a big impression on the young man. Here, the former shows Henderson's plaintive, warm sound with a muted trumpet (see YouTube video below). Cables matches him idea for idea. It is hauntingly beautiful. The latter is simply a celebration.

For all his accomplishments, Eddie Henderson is a national treasure and one of jazz's greatest living trumpet players. Witness To History is just the latest proof. An interview with him can be found here.

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