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

    $34.99
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    Crossings (Speakers Corner)

    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    This LP is a contemporary historical document, though it certainly doesn't sound antiquated.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.


    Musicians:



    • 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.


    This title is not eligible for discount.

    1. Sleeping Giant
    2. Quasar
    3. Water Torture
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Comin' Through (Pure Pleasure) Comin' Through (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Comin' Through (Pure Pleasure)

    This is an outstanding example of Funk-Jazz from the Funk Surgeon Eddie Henderson, which is a classic. The funk starts straight away with the exciting "Say You Will", orthodox but compelling, a hunk of funk featuring subtle string machine riff from Ms. Rushen with sterling trumpet solo work from the Surgeon himself. With a slower rhythm, there's a deliberate funk in "Open Eyes", though it is far more controlled and also features a chant vocal from Diane Reeves. A more mellow "Morning Song" follows - penned by featured keyboard maestro, George Cables, - Eddie is right to the fore throughout. Eddie closes side one out via the mid tempo but quite gritty "Movin' On" it takes a little time to settle in, building into something of a climax - and again Eddie's solo work is superlative.



    As with side one, side two opens with a Mtume creation - this time, you'll find "Source" a controlled yet irresistibly funky track built around some eerie but effective sound effects as Eddie solos the simple melody. But it's funky! "The Funk Surgeon" lives up to it's name, a very compelling piece of music that is second only to "Say You Will" in terms of uninhibited excitement on the album. "Beyond Forever", another George Cables creation, is the nearest this album comes to the old-style, orthodox jazz of yesteryear. As would be expected, "Connie" is a wistful, gentle little ditty that ends the album on a sentimental note and with Eddie showing his natural ability to play something mellow.



    Musicians:



    • Eddie Henderson (trumpet, fluegel horn)

    • Patrice Rushen (keyboards, bass, percussion, vocal)

    • Mtume (keyboards, conga, percussion, vocal)

    • Philip Bailey (conga, vocal)

    • Diane Reeves (vocal)

    • Lee Ritenour (guitar)

    • Howard Locksmith King (drums)




    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Say You Will
    2. Open Eyes
    3. Morning Song
    4. Movin' On
    5. Source
    6. The Funk Surgeon

    7. Beyond Forever
    8. Connie
    Eddie Henderson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Back With A Bong! (Out Of Stock) Back With A Bong! (Out Of Stock) Quick View

    $15.99
    x

    Back With A Bong! (Out Of Stock)

    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
    $15.99
    Vinyl LP - Sealed Temporarily out of stock
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