COMIN' THROUGH

Recorded in Eddie's "backyard"--in San Francisco--at Wally Heider Studios--sometime in 1977--the album is reputed to have had a July release from Capitol Records.

1. "Say You Will" (4:28) so this is how it's going to be: Disco Jazz-Funk! There is the skillfully-played musicianship coupled with repetitive dance grooves with their instrumental riff "hooks" and engageable melodies. The main melody as presented by Eddie on his trumpet prepares us for Debbie Harry's awesome 1980 hit, "Rapture," while the mesmerizing bass 'n' drum line beneath feels as if it came straight out of The ISLEY BROTHERS' 1975 release, The Heat Is On (like a slightly less bass-heavy "Fight the Power"). (8.875/10)

2. "Open Eyes" (3:53) slow it down to Bob James pace, Paul Jackson's funky note-sliding bass line is so cool! Active horn section, Patrice Rushen's clavinet, and choir sultry background vocals make for a great cocky-urban groove to fall into. Here the effect of the percussion ensemble is felt and Eddie really lets us hear his trumpet talents. Nice--though it is faded out to end it (indicating, of course, that the original jam went on for some time longer). (9/10)

3. "Morning Song" (5:38) discarding the Disco and R&B stylings for a song is a good thing. Here they are reaching back into the soulful early 70s with a Bob James/Steely Dan kind of spacious style. I like this very much as it reminds me much more of the true essence of some of those original pioneers of Jazz-Rock Fusion--the ones who were seeking to catch listeners with melody, comfort, and ease. Eddie's lead trumpet play is quite smooth and modest, rarely showing his skills, settling more for the engaging melodies of the classic soul singers of the 1960s. (8.875/10)

4. "Movin' On" (5:54) I'm wondering if the "dirty" production on George Cables' electric piano intro was intentional or not. No matter. After 30 seconds of solo electric piano, the band appears with a Disco-lite motif that predicts HERB ALPERT's 1980 hit, "Rise." George's clavinet play above Paul Jackson's centering bass line is great while the electric piano strays and spices things up beneath the steady beat provided by the Locksmith. The long reverbed trumpet notes are pretty cool even if they are mixed a little further back than I would have expected (or liked). With so many percussionists employed for this song I would have expected more noticeable action coming from that department, but no. My favorite part of the song (beside the clavinet and Fender Rhodes play) is Manny Boyd's excellent sax solo in the third and fourth minute. Again, like Herb Alpert in "Rise," Dr. Eddie stays the course pretty firmly with his long- sustained reverb note playing throughout. (9/10)

5. "Return to the Source" (4:32) a song that sounds like a slow-motion version of one of The Isley Brother's popular uptempo funk songs from their Heat Is On-Harvest For the World-Go for Your Guns period (1975-1977). Eddie's muted trumpet play is awesome, the pace a little discombobulating because it's slower than you would want or expect, but it does allow for plenty of chances to observe the talents of band members like the rhythm guitarists and vocal choir. Great rhythm guitar work from Lee Ritenour and some of the album's best trumpet playing by Eddie. (9/10)

6. "The Funk Surgeon" (4:59) fully committed to the Disco era: multiple rhythm guitars, slap and pluck bass, bass- and hi-hat-centered drums, EWF-like horn section, Patrice Rushen's novelty sound of duck-like Mini-Moog--it's all here for a dance-floor novelty song. Which is sad for the way in which Eddie's trumpet becomes so secondary (or tertiary) to the music--even going so far as getting buried within the mix instead of up front. (8.75/10)

7. "Beyond Forever" (4:38) one of the most interesting songs on the album--mostly due to its mid-song tempo increase and the remarkable instrumental performances that come with that. NOt only are the performances of Paul Jackson, George Cables, and Locksmith off the charts impressive, the composition (by George Cables) displays a songwriter who is anything but complacent--someone who wants to continue to keep the exciting, exploratory nature of jazz alive within the music industry. Great song! (Too bad they faded it out again: I would love to hear what else they had to say!) (9.375/10)

8. "Connie" (3:05) an Eddie Henderson composition that finds the flugelhorn player expressing from a tradition that feels closest to that of Miles Davis and/or Freddie Hubbard. George Cables is Eddie's lone accompanist--on a sparkling Fender Rhodes. Very reflective and introspective. I love Eddie's emotional side. (9.25/10)

Total Time: 37:07

Though full of plenty of funk and creativity, this album definitely presents a full commitment to the sounds and styles that were dominating the world of radio- (and sales-) friendly pop music at the time.

A-/4.5 stars; a collection of masterful songs that perfectly reflect so much all that was going on in the dance, radio, and Jazz-Rock Fusion world at the time (mid-1977).

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