Revisiting Music of the Mwandishi Band //

Album label: 
Release date: 
Recording location: 
Tedesco Studios
Recording date: 
Monday, June 29, 2015
Mixing engineer: 
Malcolm Cecil
Bob Gluck
Christopher Dean Sullivan
Trevor Taylor
Recording engineer: 
Ted Tedesco
  • 1. Sleeping Giant (13:43)
  • 2. We'll Know When We Get There (17:23)
  • 3. Sideways / Quasar (10:48)
  • 4. Spirit Unleashed (10:42)
  • 5. Water Torture (10:41)

Bob Gluck - piano, electronics
Billy Hart - drums
Eddie Henderson - trumpet
Christopher Dean Sullivan - bass

“It was playing with Herbie that I found myself.” With those words, jazz master drummer Billy Hart described his three years performing in pianist Herbie Hancock’s formative Sextet during the early 1970s. The band Hart referenced was at the center of my first book, You’ll Know When You Get There: Herbie Hancock and the Mwandishi Band(University of Chicago Press, 2012). Hart and I were chatting in November 2014, contemplating the possibility of re-recording some of the band’s repertoire. Jump seven months ahead and the recording engineer cued us to begin, as we played with Hart and his fellow original band member, trumpeter Eddie Henderson, and another colleague, bassist Christopher Dean Sullivan. That my work on the book could lead to such a session had been previously unimaginable to me, and it was a great privilege to have this opportunity. We were all delighted with the fruits of the session.

The nature of the resulting CD is embedded in the title: Infinite Spirit: Revisiting Music of the Mwandishi Band (FMR Records, release date: January 15, 2016). The goal was to “revisit” in the sense of taking an entirely new look at the music. What was retained of its origins is a flexibly treated framework consisting of the musical forms and melodies, but more important, the band’s exploratory, improvisatory spirit. Also revisited was the band’s blend of acoustic and electronic sounds. The latter were composed by me in advance of the session and could be heard in our headphones as we performed. The quartet of improvisers thus dynamically responded to each other’s playing and also to the pre-recorded musical tracks that were included in the mix.
It is my hope that the results of this “revisit” will be enjoyed by a wide variety of listeners; jazz lovers, and those who appreciate a beat that is simultaneously complex and in a groove. It will be of particular interest to lovers of the musically adventuresome combination of offbeat funk, abstraction, electronic timbres, and empathetic ensemble playing that characterized the original Mwandishi band.