I know im in the minority by saying this but i absolutely love On the Corner by Miles Davis. I know Michael Henderson played on it and I enjoy most of his work but something about the bass on that particular album sounds so killer to me. It is deep and the lines are tasteful and sometimes simplistic but the tone is so unique to my ear. Does anyone know anything about how the bass was recorded for that album? I know the brands of basses he used but to me it sounds like more than just bass plugged into amp setup. How did he get such a deep, full yet audible and funky tone?
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Michael Henderson bass tone appreciation
- Thread starter Tommygun77
- Start date
Rest assured, there's at least two of us.
This seems like the answer i assumed. Black Satin is an example but also during side a/on the corner that repeating riff sounds so unique to me. I always thought it was an envelope filter like you mentioned for Black Satin and Henderson was known for using one but on the title track to me certain notes seem to pulse if that makes sense almost like its being played with an expression wah type pedal but not completely “wahwah” sound
Which now that you mention it could be achieved with an envelope filter but idk how to describe it to me it sounds more natural or smooth i guess like its being controlled by an expression pedal of some sort
Last edited:
- Sep 4, 2010
- 3,304
- 2,730
- Disclosures
- Endorsing: Martin Keith Guitars
What minorirty? Among jazz peeps in NY (at least the scenes I’ve interacted with) On The Corner is a classic. You got friends! I got the Cellar Door Sessions box set because of MH. Fantastic stuff and he is so present on it in all the good ways.
I'm old enough to have bought this album (as I did all Miles albums) as soon as it came out. And I remember the Downbeat review gave it either 1 or 1 1/2 stars! Trashed it. But they were "reviewing" it in a jazz context and this music wasn't jazz. But it came to be the basis for a lot of music that came later. Miles once said something to effect of "if you don't get it, shall I wait for you?"
And MH was, and is way way under appreciated (except among bass players) and an absolute bad ass bassist. Offhand, I can't think of any bassist that plays the way he did, and with his feel - even if the bass line was just one note.
As to the sound question, he always used a wah wah pedal on stage, maybe the signal going thru the wah in "wah off" position had something to do with it? IDK about any of that stuff. An envelope filter makes sense, too. But on the other hand, he's from Detroit and the Jameson school, so at least some of it has to be just how he played the instrument physically - his touch - like the rest of us.
Monster player. His playing on Norman Conors’ ‘You Are My Starship’ was amazing.
There was a fabulous video on the Pdbass YouTube channel about it a while back, very informative.
What an era for Miles - Dave Holland to Michael Henderson!
There was a fabulous video on the Pdbass YouTube channel about it a while back, very informative.
What an era for Miles - Dave Holland to Michael Henderson!
On the corner is freakin awesome
Henderson is major influence of mine, he vamps those bassline like his life depended on it.
His playing with Miles is sooooo tasteful and perfect compliments the music.
That is great to know haha most people I have met and discussed Miles with are surprised how highly i rate on the corner its literally my favorite of his it seems so many people stop at Bitches Brew and Jack Johnson. I prefer on the corner to both
That is an excellent quote. And I agree with what you said about his feel. That first side of on the corner the playing is fairly simple with lots of space but every note he plays is so damn perfect. To me its like you wait for the next bass note while listening and it never disappoints haha
How he used space was a big component of his style.
Like the story of Stanley Clarke hanging with Miles once and he asked Miles what he thought of his playing. Miles said something to the effect of “Space, Stanley.. more space.”
!
Like the story of Stanley Clarke hanging with Miles once and he asked Miles what he thought of his playing. Miles said something to the effect of “Space, Stanley.. more space.”
!
During the “Live-Evil” with Keith Jarrett on keyboards, Miles whispered into MH’s ear “now when Keith goes into his ‘Catholic school stuff” (churchy chords etc.), don’t follow him!”
Miles hired MH to play circular bass lines.
thus being huge influence on me in regards to keeping a tight pocket and understanding the effect of repetition of basslines in certain improvisational music. playing for the song first
Live Evil is one wild ride. Absolute masterpiece.
Complete “controlled chaos” with Henderson keeping the ostinato going.
almost noise jazz, i love that record.
Huge fan of Michael Henderson. "One in One" from On The Corner has the wah if I remember correctly. Don't know if it's a filter though. (It's essentially Black Satin without the melody.)
Let's remember the absolute peak imo of Miles' live playing in that era too: Dark Magus, Agharta, and Pangaea are all Henderson masterworks in groove, tasteful playing, and being the eye of the storm. Without him it all falls apart.
Also, there's a story that Miles went to see Stevie Wonder and went backstage after the show and told him, "I'm taking your Fing bass player."
Totally agree. His playing on Live-Evil is perfect for what that band needs.
Edit: expletive getting replaced automatically?
Let's remember the absolute peak imo of Miles' live playing in that era too: Dark Magus, Agharta, and Pangaea are all Henderson masterworks in groove, tasteful playing, and being the eye of the storm. Without him it all falls apart.
Also, there's a story that Miles went to see Stevie Wonder and went backstage after the show and told him, "I'm taking your Fing bass player."
Totally agree. His playing on Live-Evil is perfect for what that band needs.
Edit: expletive getting replaced automatically?
Last edited:
Monster player. His playing on Norman Conors’ ‘You Are My Starship’ was amazing.
There was a fabulous video on the Pdbass YouTube channel about it a while back, very informative.
What an era for Miles - Dave Holland to Michael Henderson!
Dave Holland also plays electric on some tracks
Also Carter on upright
All 3 are killers
Yes they are! Hell of a bunch of bass players. Henderson is on all the live Cellar Door cuts, though those Brasilian tunes with Hermeto Pascoal are really beautiful.
The opening bass riff on Sivad is what sealed it for me. Went back and heard it countless times in a row.
