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Eddie Henderson

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  • Crossings (Speakers Corner) (Awaiting Repress) Crossings (Speakers Corner) (Awaiting Repress) Quick View

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    Crossings (Speakers Corner) (Awaiting Repress)

    In the 1970s, Herbie Hancock's Crossings was to be found on every IKEA record shelf in the student pads of jazz-fusion fans. The cover, with its psychedelic touch, also contributed significantly to its popularity - although it was unclear where the crossing was going to take us

    Nevertheless, the excellent trumpeter Eddie Henderson - often underestimated as an improviser and composer, and Benny Maupin - who like Hancock had grown up under Miles Davis's wing, present a wide range of sound-generating instruments - as was all the rage in those days. Synthesizer and Mellotron (a polyphonic tape replay keyboard and as such practically the prototype of the sampler) were permanent members of the group - and even produce here melodic arches of sound! Whether Bennie Maupin's Quasar launches the group and us into extraterrestrial territory (as stated in one review) is a moot point.

    This LP is a contemporary historical document, though it certainly doesn't sound antiquated. That's why younger listeners too will find pleasure in this experiment from the previous millennium.


    • Herbie Hancock (electric-piano, piano, mellotron, percussion)

    • Bennie Maupin (soprano saxophone, flute, bass clarinet, piccolo flute, percussion)

    • Eddie Henderson (trumpet, flugelhorn, percussion)

    • Julian Priester (trombonbe, percussion)

    • Patrick Gleeson (synthesizer)

    • Buster Williams (bass, percussion)

    • Billy Hart (drums, percussion)

    Recording: February 1972 at Pacific Recording Studios, San Mateo, CA., by Patrick Gleason

    Production: David Rubinson

    About Speakers Corner

    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. Sleeping Giant
    2. Quasar
    3. Water Torture
    Herbie Hancock
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Back With A Bong! (Awaiting Repress) Back With A Bong! (Awaiting Repress) Quick View

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    Back With A Bong! (Awaiting Repress)

    As angrily socio-political as so much punk rock tended to be, the genre also gave us quite a few bands that preferred goofy madcap humor over social or political commentary -- including the Ramones and the Dickies. Murphy's Law, a band that came out of New York's mid-'80s punk scene, was among the genre's goofiest. The aggressively rockin' Back with a Bong! isn't a record that's heavy on political content -- song titles like Panty Raid, Cavity Creeps and Attack Oof the Killer Beers underscore the fact that wild, irreverent fun is the primarily goal of the Astoria, Queens residents. Profile Records -- which had become one of the largest independent labels thanks to rappers like Run-D.M.C. and Dana Dane -- turned to Murphy's Law in the hope of increasing its visibility in rock. The album wasn't a big seller, although the punkers did command a small following.

    - Alex Henderson (All Music Guide)

    1. Intro
    2. Panty Raid
    3. Yahoo!
    4. Attack Of The Killer Beers
    5. Cavity Creeps
    6. Ska Song
    7. Quest For Herb
    8. America Rules
    9. Rage
    10. Wall Of Death
    11. Secret Agent S.K.I.N.
    12. Push Comes To Shove
    13. Bong
    Murphy's Law
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
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