MICHAEL HENDERSON

*There are not many musicians in the world – if any – that can honestly say and prove that by the time they were 16 years old, they had either recorded, performed and/or toured with music legends such as Aretha Franklin, Stevie Wonder, “Martha Reeves and the Vandellas,” “The Four Tops,” “The Temptations,” “The Supremes” and Marvin Gaye, just to name a few. Yet, bass guitar player Michael Henderson can honestly claim such remarkable feats … and many more!

Henderson, a native Detroiter and self-taught musician, was considered a “music prodigy and phenom,” when he learned to play bass guitar in 1963 at 12 years old. Months later, he was playing with the famed “Detroit Emeralds,” and soon was doing Motown recording sessions. That’s right, doing Motown recording sessions at 14!

When the label pulled up stakes in Detroit to move to Los Angeles in the late 1960s, early ‘70s, Henderson didn’t follow. It wasn’t because Motown didn’t want Henderson to come; it was more because jazz trumpet great Miles Davis wanted the 19 year old bass player more.

“I was playing a gig in New York with Stevie Wonder,” recalled Henderson. “Miles was in the audience. After the show Miles walked back stage and told Stevie in a raspy voice, ‘I’m taking your f –ing bass player.’ ”

True to his word, Davis sent for Henderson. Thus, the teenager debuted on the great Miles Davis’ jazz classic album, “Jack Johnson” in 1970. Henderson played and recorded with Davis for seven years.

Speaking of Los Angeles, one of the reasons we spoke with Henderson is because of his upcoming return gig with songbird Rena Scott at the Catalina Jazz Club in Hollywood. We’ll have more about that below and next week in part 2 of our interview with Michael Henderson.

Michael Henderson and Rena Scott Catalina Jazz Club in Hollywood Ad

Deciding to concentrate more on his own music, coupled with a period of inactivity by Davis, Henderson reverted back to his r&b roots by presenting numerous tunes he had written to the Detroit-based r&b group, “The Dramatics.” Such songs included, “Just Shopping, Not Buying,” “Treat Me Like a Man,” “Be My Girl,” “What You See is What You Get,” “In the Rain” and lots more.

“I did at least 70 songs for ‘The Dramatics,’ recalled Henderson. “We recorded at United Sound Studio in Detroit, and the music was recorded before ‘The Dramatics’ ever heard the music. Sometimes, we recorded the music from 6:00 a.m. to 3 or 4 in the morning.”

While Henderson was well known for his bass playing acumen, few in the music business knew of his unique vocal styling. Drummer and music producer, Norman Connors knew and showcased Henderson on lead vocals on various projects for him (Connors) on Buddah Records.

“The song ‘Valentine Love’ with Jean Carne was the first time I ever sang on a record,” said Henderson about the 1975 release on Connor’s album, ‘Saturday Night Special.’ “On ‘You Are My Starship’ I wrote, played bass and sang lead vocals on the song. After Norman introduced me to Phyllis Hyman, she and I sang a duet on “We Both Need Each Other.”

Soon Henderson, who wants the world to know that he, not Norman Connors, recorded lead vocals on “You Are My Starship,” signed with Buddah. His first solo album for the company was “Solid.” Subsequent albums included “In the Night Time,” (certified gold), “Do it All,” “Wide Receiver,” “Sling Shot” and “Fickle.” The album “Bedtime Stories” was recorded for EMI/Capitol Records.

Asked by EUR’s Lee Bailey to explain the inspiration for writing and recording the song “Wide Receiver” in 1980, Henderson referenced the 1979 AFC Championship Game between the Pittsburgh Steelers and Houston Oilers.

“To make a long story short, I knew many of the players for the Pittsburgh Steelers and Houston Oilers,” said Henderson. “So I was watching the game, and there was this play where the Oilers’ wide receiver caught the ball, got both feet down in the end zone, but didn’t get the points. The referees said he didn’t get both feet down. The player got robbed. The whole song was about the Houston Oilers, Pittsburgh Steelers and the play that day.”

When told the song “Wide Receiver” seemed to have a double entendre, meaning some people heard the football references in the lyrics, but others heard inferred lyrics that maybe some football players were gay, Henderson responded.

“When some people heard the song, they thought I had gone over to the other side,” Henderson said. “But I’m not gay. I’m a straight up dude, and have always been. It was just a fun song…It was a football song.”

Henderson’s music career continued to expand through his contributions of songs for the soundtracks of such films as, “About Last Night,” starring Demi Moore and “Armed and Dangerous,” starring John Candy. When the 1990’s rolled in, Henderson played bass on numerous hip hop and rap artists’ projects, including vocalist Adena Howard (Freak Like Me Album), Snoop Doggy Dogg (Murder was the Case), and Death Row Records’ Greatest Hits.

Henderson has also played and/or recorded with L.L. Cool J, MC 8, Tamia, among others. His music/bass line, according to Henderson, has been sampled at least 400 times by hip hop/rap recording artists around the globe.

Asked by Bailey to explain his key to longevity of about 54 years in professional music, Henderson pondered and said,

“I learned from the very best musicians on the planet,” he said. “The musicians that I played with, like the Funk Brothers at Motown, could play jazz, r&b and pop. They taught me to bring the spirit of excellence to the music, each and every time, because we were creating classics.”

These days, Henderson resides on his farm in Georgia. His phone still rings constantly with requests from record labels, recording artists, arrangers and producers asking him to attach his golden bass to various recording projects or live performances. Henderson, however, for the most part spends quality time with his family.

Yet, Henderson is excited about the July 30th airing of TV One’s “Unsung” on “The Dramatics.” He is interviewed about producing, writing, and his bass playing connected to dozens and dozens of songs by “The Dramatics.” Henderson is also excited about his song, “You Are My Starship” making its July 22 television debut on BET/CENTRIC’s new TV sitcom, “Beauty and The Baller.”

Henderson is currently working on new songs for a forthcoming solo album, and he’s preparing for several performances in California in August.

“God is good,” said Henderson. “I’m really looking forward to coming back to L.A. to perform at the Catalina Jazz Club in Hollywood on August 9th and 10th, with special guest, Rena Scott, who is an awesome singer.”

For more news, information and updates on Michael Henderson, including upcoming August performances at the Catalina Jazz Club in Los Angeles, the Southern Café in Antioch, California, and other engagements around the country, visit his Facebook page. - Lee Bailey's EURWEB: Electronic Urban Report

Members of the hugely popular Miles Davis bands of the 70's, Michael Henderson, Mtume, Lenny White, Dave Liebman, Gary Bartz, Wallace Rony, Vince Wilburn (Miles Davis Estate) Mark Ruffin (Moderator) convened for talks, Jazz At Lincoln Center!
Watch, listen to the #conversation from musicians that influenced generations! Michael Henderson! Mtume! Lenny White! Gary Bartz! Dave Liebman! Vince Wilburn! (Miles Davis Estate) Wallace Roney! Mark Ruffin! (Moderator) Their years (specifically, The Electric Years) with mentor, Jazz Legend, Trumpeter Musician - BestComm PR

The TAMLA/MOTOWN Album, 'YOU'RE THE MAN,' Set for global release March 29 BY MOTOWN/UMe... Music Legend's Shelved Follow-Up to What's Going On Makes LP Vinyl & Digital Debut Celebrating Marvin Gaye's 80th Birthday on April 2...

In observation of the 80th birthday April 2, Marvin Gaye, Motown/UMe will release his never-issued 1972 Tamla/Motown album, You're The Man, in 2LP gatefold vinyl and digital editions on March 29. The album's CD release will follow on May 10. You're The Man features all of Gaye's solo and non-soundtrack recordings from 1972, with most of the album's tracks making their vinyl release debuts. SaLaAM ReMi's new mix of the album track "My Last Chance" is available now for streaming and for immediate download with album pre-order. Click Link Below.

In 1972, Marvin Gaye was on top: or so it seemed. "What's Going On," "Mercy Mercy Me (The Ecology)," and "Inner City Blues (Make Me Wanna Holler")," the three singles from his universally acclaimed album What's Going On, had each hit No. 1 on Billboard's Hot Soul Singles chart (since renamed Hot R&B/Hip-Hop Songs) and Top 10 Pop the year before. His new single, "You're The Man" – a percolating, sarcastic riff on political non-action issued as the U.S. presidential campaign was kicking off – reached No. 7 on Billboard's Hot Soul Singles chart. He saw Motown schedule a You're The Man album (catalog number Tamla 316). But when the lead single didn't cross over Pop, stalling at No. 50, Marvin retreated. Ambivalent about recording, stubborn about moving to Los Angeles with Berry Gordy and Motown, Marvin by his actions proclaimed no more new Marvin Gaye music. Or so it seemed.

In this singular and transitional year for the late music legend, Gaye recorded more than an album's worth of music in Detroit and L.A. He produced himself, creating a suite of aching ballads; he worked with songwriters-becoming-producers Willie Hutch, then known mainly for the Jackson 5 smash "I'll Be There," but soon to be lauded for his film scores to The Mack and Foxy Brown; and with Pam Sawyer and Gloria Jones, whose "Piece of Clay" for Marvin decades later became a smash in the 1995 film Phenomenon. He cut two sought-after tracks with Freddie Perren and Fonce Mizell, half of the hit-making machine behind the Jackson 5; he got together with Hal Davis, who was preparing a Marvin Gaye-Diana Ross album, to cut another topical gem, "The World Is Rated X." And Marvin funneled his anger over the Vietnam War, and his brother's experiences there, into a sequel of sorts to "What's Going On," the poetic holiday ballad, "I Want To Come Home For Christmas." He even re-cut "You're The Man" as an eerie funk jam, perhaps for the LP as a bookend to the single. None of these tracks or any other on the LP, except the single, were issued at the time.

Three tracks from the album are newly mixed by SaLaAM ReMi, the songwriter and producer long associated with Nas, the Fugees, and Amy Winehouse: "My Last Chance," "Symphony," and "I'd Give My Life For You." Also included is the rare, long LP version of Gaye's cancelled 1972 Christmas single, plus an unreleased vault mix of its instrumental B-side. Over the years, songs from You're The Man have been included on several CD releases but 15 of the album's 17 tracks have not been released on vinyl until now.

You're The Man's 2LP vinyl edition includes new liner notes by Marvin Gaye biographer David Ritz. In his essay, Ritz delves into Gaye's deeply personal internal conflict as a source of creative vigor and emotional burden as he experienced What's Going On's massive success and all that came with it. "Now I could do what I wanted," Gaye told Ritz in an interview that first appeared in Divided Soul: The Life of Marvin Gaye. "For most people that would be a blessing. But for me the thought was heavy. They said I'd reached the top, and that scared me because Mother used to say, 'First ripe, first rotten.' When you're at the top there's nowhere to go but down. No, I needed to keep going up – raising my consciousness – or I'd fall back on my behind. When would the war stop? That's what I wanted to know – the war inside my soul."

Despite his inner turmoil, that same year Gaye recorded a duets album with Diana Ross, and he accepted an offer to write what became his landmark Trouble Man film score. A year later, he released Let's Get It On, the biggest hit of his career.

In addition to You're The Man, Motown/UMe will release a new expanded edition of Marvin Gaye's 1965 album, A Tribute To The Great Nat King Cole, digitally on March 15. Honoring what would have been Cole's 100th birthday, the album's original mono mix makes its digital debut with the new edition, which also adds more than a dozen bonus tracks, including six alternate takes from the studio sessions.

Marvin Gaye: You're The Man [2LP vinyl; digital; CD]

Side 1
Produced by Marvin Gaye (1), Hal Davis (2), Gloria Jones and Pamela Sawyer (3), Freddie Perren and Fonce Mizell (4)
1. You're The Man 5:45 * Michael Henderson (Bass Guitar)
2. The World Is Rated X 3:50
3. Piece of Clay 5:10
4. Where Are We Going? 3:53
Side 2
Produced by Willie Hutch
1. I'm Gonna Give You Respect 2:55
2. Try It, You'll Like It 3:55
3. You Are That Special One 3:35
4. We Can Make It Baby 3:20
Side 3
Produced by Marvin Gaye except *Freddie Perren and Fonce Mizell
Mixes for tracks 1-3, by SaLaAM ReMi, and track 5, by Art Stewart, are previously unreleased.
1. My Last Chance 3:40
2. Symphony 2:52
3. I'd Give My Life For You 3:31
4. Woman of the World* 3:30
5. Christmas In the City (instrumental) 3:48
Side 4
Produced by Marvin Gaye
1. You're The Man Version 2 4:40 * James Jamerson (Bass Guitar)
2. I Want to Come Home For Christmas 4:48
3. I'm Going Home (Move) 4:38 * Michael Henderson (Bass Guitar)
4. Checking Out (Double Clutch) 4:50 * Michael Henderson (Bass Guitar)

Pre-order You're The Man (digital; 2LP vinyl; CD): https://UMe.lnk.to/YoureTheManPR

Musicians on this classic recording are Uriel Jones: Drums, Michael Henderson: Bass, Ray Parker Jr: Guitar, WahWah Watson: Guitar, Leroy Emmanuel: Guitar, Marvin Gaye: Vocals, Keys, Bongos: Legendary Motown Bassist James Jamerson plays on, "You're The Man" Part II.. Listen here: https://bit.ly/2CtwRYc (https://ume.lnk.to/YoureTheManPR) For Pre-Order - Bestcomm PR

*For the second year in a row, Michael Henderson brought his birthday celebration to the Catalina Bar and Grill in Hollywood, California (July 6 and 7) and once again EURweb.com was in attendance.

Let me start by giving the band major props, because they were off the hook, chain and hinges. There was no opening act, so they played a tad before Michael came on. When I say these men have skills, that is a bit of an understatement. There were several solos during the evening, all of them, top-notch. Kudos and a shout out to the band members: Paul Vargas (keyboard), William Zimmerman (keyboard), Raymond Johnson (drums), Robert “Bullet” Harris (guitar), KT Tyler (bass guitar) and Don Bynum (horns). They did an amazing job.

When Michael came out walking through the crowd and on to the stage, I saw a cane and thought his mobility may be an issue, but I quickly discarded the notion when he put the cane on the floor, never picked it up again and moved just fine as he went to work. He did mention it, however, sharing that the recent earthquake made him head for the fire escape and, well, you can imagine the rest.

The audience went back down memory lane, as we were treated to all of our favorite Michael Henderson songs, several Dramatics ones, especially those written by Michael and a few songs by other artists as well. As an added treat, Michael played the bass, as opposed to it resting on the stand as it did in previous Catalina appearances. Michael, I am glad you played it for us. I enjoyed it. Before he got into his own music, he performed Jr. Walker’s “Shotgun” and Zapp’s “I Wanna Be Your Man.” First out of the Michael Henderson music vault was “Wide Receiver,” which included a change in lyrics to “Sometimes you get your nut; sometimes you don’t.” I think the audience was amused. Michael’s deep voice was in full tilt on “At the Concert,” which was an audience favorite. He also performed “Can’t We Fall In Love Again,” “In the Nighttime,” “You Are My Starship” and “We Both Need Each Other,” all of which the audience enjoyed, but my personal favorite was the stroll through the audience Michael took as he performed, “Let Me Love You.” OH MY!

The evening included a fair amount of dialog, where Michael talked about the music of today versus the music of yesterday. He paid homage to singers, Willie Ford (Dramatics), Levi Stubbs (Four Tops) and Chuck Barksdale (Dells), all who have left us, as well as Phyllis Hyman, on what would have been her 70th birthday. The audience got a kick out of how he joked about today’s music being almost indiscernible. I could not help but laugh when he said, “Everyone who stole my music is on Unsung and the rest I work with.” I guess that is to be expected when you have had a hand in some of the biggest hits in music history. Speaking of which, we were treated to a few of the songs Michael had a hand in. He performed a medley of the Dramatics hits, “Hey You, Get Off My Mountain,” “What You See Is What You Get,” “In the Rain,’ “Be My Girl” and “Get Up, Get Down.” I also heard a snippet of my favorite Sly Stone song, “If You Want Me to Stay.”

Michael Henderson (july 19)-4

I was curious to see how the female parts of the songs would be handled. Not a problem. Michael’s background singers, Tameron Gennae, Donald Bell and Anise L. White-Goff doubled as lead vocalists and more than held their own. In fact, Compton’s own Tameron Gennae gets major props for doing the damn thing on “Valentine Love.” Her chops are amazing.

Although I attended the Saturday show, I know people who went on Sunday and loved it just as much as I did, so it was not just me and it was not a fluke. Michael Henderson is still the REAL DEAL, decades later. He even hung around after the show to take pictures and did not stop until the last request was completed. Yep, he is very accommodating. I have now seen him four times in the last two years and I think this was the best of the four shows. If you have a chance to take in a Michael Henderson concert, it will be money well spent.
Thanks for the hookup, Michael. See you next time!~ - EURWEB * Marilyn Smith is a Los Angeles based writer/reviewer.

‘FOR THE RECORD’ PODCAST: LEE BAILEY & STEVEN IVORY SEE MICHAEL HENDERSON IN CONCERT & REMINISCE ABOUT R&B’S BYGONE ERA – LISTEN * https://bit.ly/31xEqqZ

*On this episode of our EURWEB podcast For the Record, host Lee Bailey and “The Music Man,” Steven Ivory, are fresh from seeing R&B legend Michael Henderson in concert and can’t help but get nostalgic about the days when his brand of pure R&B – with its incredible arrangements, complex orchestration and real singing – was the industry standard.

Henderson, best known for his early 70s classics “Wide Receiver,” “Valentine Love” and “You Are My Starship,” performed at the Catalina Jazz Club in Los Angeles a day before his 68th birthday.

“This show that we saw, you could call it a couple of things,” said Ivory about the singer/musician. “It was his history as a bass player, as a producer, as a songwriter and as an artist. But it was also a history of this music called R&B … we’re losing this stuff.”
Lee and Steven start off talking about the concert and how to get these Millennials and Gen Z’ers to appreciate the artistry of musicians from Henderson’s era. Steven then goes on a Clive Davis vs. Berry Gordy tangent, saying if Gordy were white, “there would be a statue of him in every park.”

“With all due respect to Clive Davis, he was around at the label when a lot of different people signed with Arista and CBS,” said Ivory. “But he’s really responsible for creating from head to toe, start to finish, one act. And that is Whitney Houston. He didn’t invent Aretha Franklin, he invented Whitney Houston.”

By comparison, Ivory listed the acts that Gordy “invented” from the ground up: “The Supremes, Smokey, The Temptations, Stevie Wonder, The Jackson 5, Michael Jackson. When we get to the B-list, we’re getting to people like Rick James and The Commodores. Gladys Knight. The Four Tops. Stop me.”

Listen to this entire conversation in our latest episode of For The Record above. - EURweb

Michael Henderson - Take Me I'm Yours: the Buddah Years Anthology
Michael Henderson needed an anthology like Take Me I’m Yours: The Buddah Years, a two-CD retrospective released by SoulMusic Records. Music fans, especially those around from 1976 to 1983 when Henderson released the albums that contained these songs, needed this anthology as well.

That’s because Henderson may be one of that generation’s under-appreciated vocalists and songwriters. Musicians definitely appreciated Henderson’s work on the bass, and that explains why he worked with Stevie Wonder, The Dramatics, Miles Davis, The Four Tops, Martha Reeves & the Vandellas, Gladys Knight & the Pips, to name a few.

Henderson grew up in Detroit, so had that Motown influence. Hearing James Jamerson, the legendary bassist for Motown’s house band the Funk Brothers, inspired Henderson to learn the instrument. Soon, he was a teenager playing with Stevie and other Motown acts. Miles heard Henderson and recruited him to be a part of his great fusion band of the 1970s.

So, Henderson entered the mid to late 1970s with being a sideman and session musician as his claim to fame. He was also writing songs, but the public had little evidence that Henderson possessed a melodic and rangy tenor that could easily extend into falsetto territory. That became apparent when Henderson joined up with Norman Connors in the mid-1970s.

Henderson wrote “Valentine Love,” but he had no intention of being the lead singer. Henderson said he sang in the studio thinking that he was giving Connors and his crew and idea of how the vocals would sound. However, Connors kept Henderson’s vocals and added Jean Carn to complete the duet and the rest was history. Henderson had a hit, and a song that eternally remains on Valentine’s Day playlists.

Henderson spent the next decade creating crafting and singing lead on other ballads that became Quiet Storm mainstays, and having all of those tunes featured on this compilation makes it a necessary purchase for fans of soulful ballads. The record shows that Henderson shines as a duet partner with Phyllis Hyman on “We Both Need Each Other” and “Can’t We Fall in Love Again,” Roberta Flack on “At the Concert,” Rena Scott on “Take Me I’m Yours,” and Carn on the aforementioned “Valentine Love.”

His work as a solo balladeer is represented on several tracks, including “You Are My Starship” and “Be My Girl.” The SoulMusic Records anthologies always contain a surprise or two, and here listeners get to hear Henderson’s take on two classic covers –Jackie Wilson’s “To Be Loved” and “Make It Easy on Yourself,” which first became a hit for Jerry Butler. Henderson is especially strong on “Make It Easy for Yourself,” where his range allows him to capture the cut’s melodrama and pathos.

Henderson’s career coincided with the height of the funk era, the record includes several of his popular up-tempo numbers such as “Wide Receiver,” “Prove It,” and well-regarded album tracks such as the funk/rock fusion, “Time.” Henderson said that he wanted to do something other than ballads at a time when funk and the emerging hip-hop genre were changing the industry. He happened to be watching a football game at the time – the AFC Championship game between the Houston Oilers (now Tennessee Titans) and the Pittsburgh Steelers and came up with the song “Wide Receiver.” “Wide Receiver” and “Prove It,” two songs that address the darker, football player as cattle themes that have emerged in recent years, actually remain relevant today. “Wide Receiver” was released 38 years ago, and we still can’t seem to figure out what a catch is.

“Valentine Love” was released as a Norman Connors song when it came out in 1975-76, as was “You Are My Starship,” and it took a little while for Henderson to get his deserved credit as a vocalist in his own right. However, Take Me I’m Yours: The Buddah Years anthology serves as a reminder that there weren’t too many R&B balladeers who did it better than Henderson. Strongly Recommended.

By Howard Dukes - Soul Tracks

Press Release (ePRNews.com) - LOS ANGELES - Jul 03, 2017 - Michael Henderson’s Starship continues it’s illustrious journey as it has for the past five decades!~ During the 2017 BET Music Awards, this “SPRITE” commercial was aired and features the music of “The Dramatics” song titled, “Door To Your Heart” for which Michael Henderson plays bass guitar! https://youtu.be/YNGUSM7bB0o

Henderson’s Hollywood Star doesn’t stop there! On the wildly successful Television show, “Empire” episode #16, “Absent Child” Michael Henderson’s funky bassline can be heard under the screaming vocals of The Dramatics, song titled “Get Up! Get Down! as the Lyon family takes on antagonizers at a family meeting!~ https://youtu.be/68JSIXrnOVs

More Hollywood News!! New Television sitcom “Beauty and The Baller” air date July 22nd on the BET/Centric network, this pilot episode, will feature the classic hit song, “You Are My Starship” written and sung by Michael Henderson! A television first for the maestro!! Watch for it! https://www.youtube.com/watch?v=5_dXaOkRfwE

Famed supergroup, “The Dramatics” have just completed taping of an “UNSUNG” episode in which Michael Henderson is interviewed for his contribution producing, writing and playing bass guitar on more than 50 song titles for the very successful Detroit based group!! IE., “Whatch See, Is Whatcha Get! In The Rain! Hey You! Get Off My Mountain, Fell For You! The Devil Is Dope! Hot Pants! Stars In your Eyes! Ocean Of Thoughts And Dreams! and Falling! Fall In Love Ladylove! Thankful For Your Love, I Cried All The Way Home! I Can’t Get Over You! …And I Panicked! Toast To The Fool! Many More!! Air date is July 30th!! Henderson has confirmed that he is currently in talks with “UNSUNG” producers for a taping of the Michael Henderson Story! Stay posted!!

NAACP IMAGE AWARDS HONORS MILES DAVIS AT NEWPORT 1955 – 1975 AS OUTSTANDING JAZZ ALBUM!! An integral component of the Miles Davis electra era band, bassist on this album, Michael Henderson is in good company with such musical giants as John Coletrane, Herbie Hancock, Zoot Simms, Gerry Mulligan, Theloniuous Monk, Percy Heath, Cannonball Adderly, Bill Evans, Paul Chamber, Jimmy Cobb, Wayne Shorter, Tony Williams, Chick Corea, Dave Holland, Jack Dejohnette, Gary Bartz, Keith Jarrett, Sam Morrison, Pete Cosey, Reggie Lucas, Al Foster, James Mtume’, Ndugu Chancellor, Ron Carter, Jimmy Cobb to name but a few!! This album has also garnered acknowledgement from the following publications: Rollingstone, Downbeat JazzWise, JazzTimes, Pitchfork, The UK Guardian, The New Yorker, The LA Times and others worldwide!! Henderson’s unique bass playing can be heard in the soundtrack and movie of the Miles Davis biopic, “Miles Ahead” starring Don Cheadle!~

Michael Henderson / Rena Scotts’ Hollywood Return!! After the resounding “SOLD OUT” success of the last concert performance the two were asked to return for an encore!! Two nights at famed, “Catalina Jazz” Hollywood CA., Wednesday August 9th and Thursday August 10th!! For Tickets visit: www.michaelhendersonshollywoodreturn.eventbrite.com before they are GONE!!

More Starship Landings!! Philadelphia with Jean Carne Friday September 1st at Treasures Germantown PA!~ Tickets at: starshiplandingphiladelphia.eventbrite.com

Michael Henderson concert Bethesda Blues and Jazz Bethesda MD., with Cherrell!! Thursday September 21st Tickets at: http://bit.ly/2rI9lyA

Watch YouTube clip of Michael Henderson with special guest Ray Parker Jr., Sylvester Rivers In Concert!~ http://bit.ly/2tBY7A4

Happy Birthday Michael Henderson!! Friday July 7th!!

Source : Michael Henderson - EPR NEWS

*Following up on our 05-28-19 story regarding the death of Willie “Sugar Bear” Ford of The Dramatics, we now have his funeral homegoing details, courtesy of Lamont Robinson of the Rhythm & Blues Hall of Fame.

June 11/Viewing:

The viewing is set for Tuesday, June 11 from 10am until closing at the Swanson Funeral Home, 1475 West Nichols Road, Detroit, MI 48235

June 12/Homegoing:

The homegoing services for brother Ford are set for Wednesday, June 12 at the Detroit World Outreach, 2380 West Chicago, Redford, MI. 48239. The family hour: 10-11am. The homegoing celebration starts at 11am.

June 12/Repast.

Following the homegoing services, the repast for Willie Ford is set Bert’s Warehouse Complex, 2727 Russell St, Detroit MI. 48207.
Here’s we reported earlier regarding the passing of Willie Ford:

We Remember: Soulful Bass Singer / Co-founder of The Dramatics Willie Ford Dies at 68

*Just like that we’ve lost an other soul legend. And like the last one to pass, Melvin Edmomds (of After 7), he wasn’t especially known by casual music fans. We’re speaking of singer Willie Ford of The Dramatics. He was 68.

Unfortunately, at this time we don’t have specific details of his health prior to his passing except that he had just had surgery, according to legendary singer, writer and producer, Michael Henderson who spoke to EUR’s Lee Bailey.

When asked his thoughts about Ford’s passing, Henderson tributed Ford with this compliment:

“He was one the greatest bass singers of all time … along with Melvin Franklin of The Temptations.”

Henderson, who was shaken by his friend’s death, said that it was only a couple of days ago that he was speaking with Ford who was resting at home. He says the basso profondo told him he was ready to get back to work.

If he had gone back to work, it most likely would’ve been as part of one of two traveling groups touring under the Dramatics name. One led by L. J. Reynolds (and featuring Kelly, Donald Albert and Leon Franklin) and the other, newer group was led by Ford, according to Soul Tracks. - FISHER JACK EURWEB * Electronic Urban Report

http://www.kpfk.org/index.php?option=com_content&task=view&id=3718&Itemid=79 - 32k - KPFK RADIO

Miles.....From India - Various Artists
Posted by Terrill Hanna at 1/28/2008 2:40 PM and is filed under Concerts and Festivals,Nu-Jazz Releases
Various Artists - MILES...FROM INDIA
Times Square Records - April 15, 2008



In a startlingly original recreation of music associated with jazz legend Miles Davis, co-producers Bob Belden and Louiz Banks have recast familiar themes from such landmark recordings as Bitches Brew, In A Silent Way, and Kind of Blue with an East Meets West sensibility on Miles...From India. An incredibly ambitious project involving two dozen musicians from two separate continents recording in studios around the world, Miles...From India is a cross-cultural summit meeting that puts a provocative pan-global spin on such Miles classics as "All Blues," "Spanish Key," "So What," "It's About That Time" and "Jean Pierre."

Sitar and tablas, ghatam and khanjira, mridangam and Carnatic violin blend seamlessly with muted trumpet and saxophones, screaming electric guitar and grooving electric bass lines, piano, upright bass and drums on this profound fusion of Indian classical and American jazz. Recorded in Mumbai and Madras, India and New York, Chicago and Los Angeles, the music on Miles...From India was performed by classical and jazz musicians from India with the addition of musicians who have recorded or performed with Miles Davis over the span of five decades. The 2-CD set is scheduled for an April 15 release on the New York-based Times Square Records.

Producer-archivist Belden, renowned for his Grammy Award-winning reissue work on a series of Miles Davis boxed sets for Sony/Columbia, explains the genesis of Miles...From India. "Yusuf Gandhi, who heads Times Square Records, and I have had conversations about doing this for the past several years. Yusuf had the connection to India and an understanding of Indian classical music along with an appreciation for jazz and also fusion music. So we had some mutual interests there. At some point we were talking about potential projects and I was just in the process of doing the On The Corner boxed set. Of course, Miles incorporated tabla and sitar on those sessions from 1972, so I suggested revisiting Miles' Indian influenced music using some of those guys from On The Corner along with some Indian classical musicians and calling it Miles...From India. Yusuf said, 'Perfect,' and that was it."

Adds Gandhi, "Jazz musicians have always listened to Indian music and Indian musicians know jazz. Right now there are so many great young musicians in India that people in America have never heard of. You hear about the Ravi Shankar family and other prominent musicians from India, but you don't hear about the younger musicians who are out there doing innovative things. So we wanted to get some of them into the picture on this project."

The Miles alumni included on the sessions are saxophonists Dave Liebman (1972-74) and Gary Bartz (1970-71), guitarists Mike Stern (1981-84), Pete Cosey (1973-76) and John McLaughlin (1969-72), bassists Ron Carter (1963-69), Michael Henderson (1970-76), Marcus Miller (1981-1984), Benny Rietveld (1987-91), keyboardists Chick Corea (1968-72), Adam Holzman (1985-87) and Robert Irving III (1980-88), drummers Jimmy Cobb (1968-63), Leon 'Ndugu' Chancler (1971), Lenny White (1969) and Vince Wilburn (1981, 1984-1987) and tabla player Badal Roy (1972-3). The Indian contingent is represented by keyboardist Louiz Banks, drummer Gino Banks, American-born alto saxophonist Rudresh Mahanthappa, sitarist Ravi Chari, Vikku Vinayakram (a charter member of Shakti) on ghatam, V. Selvaganesh (a member of Shakti and Remember Shakti) on khanjira, U. Shrinivas (from Remember Shakti) on electric mandolin, Brij Narain on sarod, Dilshad Khan on sarangi, Sridhar Parthasarathy on mridangam, Ranjit Barot on drums,
Taufiq Qureshi and A. Sivamani on percussion, Kala Ramnath on Carnatic violin, Rakesh Chaurasia on flute and Shankar Mahadevan & Sikkil Gurucharan on Indian classical vocals.

CELEBRATING MILES...FROM INDIA IN CONCERT
There will be a handful of live concerts celebrating the collaboration...the first two scheduled are in New York and San Francisco with more to come...Among the artists performing at these first two dates are RON CARTER, LENNY WHITE, WALLACE RONEY, PETE COSEY, BADAL ROY, RUDRESH MAHANTHAPPA, LOUIZ BANKS, BENNY REITVELD and more tba...

May 9 - Town Hall, 123 W, 43rd St. New York, NY
8pm - Tickets: $40-$45
http://www.the-townhall-nyc.org/pages/calendar/may.html

May 31 - SF Jazz Festival, The Palace of the Fine Arts,
3301 Lyon St. - San Francisco, CA - 8pm -
$25/$30/$36/premium $56 - Box Office: 415-567-6642

Courtesy of Brad Riesau at DL MEDIA
(e) brad@jazzpublicity.com



- brad@jazzpublicity.com 1.28.08

What else is left? Two possible periods to dig through are just before his self-imposed exile in 1975 and post-comeback in 1981. Critics and fans split their opinions about these periods. Some didn’t consider it jazz, or worse, saw it as the work of a sellout, which is ridiculous. I love both of those chapters in his career, especially the former, when Miles, who dabbled with the organ then, used a troupe of talented if not conventional post-bop musicians like Pete Cosey, James Mtume, Sonny Fortune, Michael Henderson, Dave Liebman, and Azar Lawrence. The 1975 concerts from Osaka, Japan — Agharta and Pangaea — are mesmerizing; and there were other recorded sessions from that era that could provide bootleg material, regardless of whether a nugget from Avery Fisher Hall already appears on volume four. The terrific drummer Al Foster played in those pre-’75 groups and was the only one to return after the comeback, along with now-legendary guitarist John Scofield, electric bassist Marcus Miller (the nephew of Wynton Kelly), and the late tenorman Bob Berg. There could, and perhaps should, be some gold there, too.

Whatever it is, whenever it is, I can’t wait to hear what’s next. - The Village Voice: Michael J. Agovino