Joe Henderson's 'Multiple' Sets Vinyl Reissue

Craft Recordings and Jazz Dispensary kick off the new year in style with a heady cult favorite from Joe Henderson, 1973’s Multiple. Returning to vinyl after more than 50 years, the album features a world-class ensemble of musicians—including Dave Holland, Jack DeJohnette, Larry Willis, and James “Blood” Ulmer—while it finds the influential saxophonist at the apex of his fusion period.

Arriving March 7th as part of Jazz Dispensary’s Top Shelf series, and available for pre-order now, Multiple is cut from the original analog tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. The LP is housed in a tip-on jacket, replicating Multiple’s original artwork. Fans can also find the album on digital platforms, as it makes its debut in hi-res audio on the same day as the vinyl release.

One of the most talented tenor saxophonists of his era, Joe Henderson (1937–2001) was a prolific leader and a sought-after sideman who played alongside the biggest names in jazz, including Herbie Hancock, Kenny Dorham, Chick Corea, and Alice Coltrane. The virtuosic Ohio-born musician launched his four-decade-long career in Detroit while attending college, before relocating to New York. There, he quickly built a name for himself performing on dozens of sessions for Blue Note Records, including those for Hancock, Horace Silver, Andrew Hill, and Lee Morgan.

As a band leader, Henderson stood out from his peers, thanks to an eclectic sound that frequently incorporated elements of avant-garde, Latin, and R&B. That versatile and adventurous spirit caught the attention of Orrin Keepnews, who signed the saxophonist to Milestone Records. Under the fledgling jazz label, Henderson took his career—and his sound—to the next level through innovative albums like The Kicker (1968), Power to the People (1969), and Black Is the Color (1972).

By the time he recorded Multiple, Henderson was experimenting with a variety of electronic instrumentation, studio effects, and overdubs—all while weaving a socially conscious thread into his music. Much like Henderson himself, the 1973 album can’t be pigeonholed, as it finds the saxophonist operating in an enthralling sonic space, landing somewhere between fusion and free jazz. Helping Henderson envision that magic is a tightly-knit roster of talent, including bassist Dave Holland and drummer Jack DeJohnette (known for their work together with Miles Davis), plus such esteemed players as keyboardist Larry Willis, guitarist James “Blood” Ulmer, and legendary studio musician/arranger Arthur Jenkins (John Lennon, Chaka Kahn, Harry Belafonte) on percussion.

Comprised primarily of Henderson originals, Side A opens with his classic “Tress-Cum-Deo-La,” a swaggering, ten-and-a-half-minute-long jam, featuring vocalizations, joyful hand-claps, and awe-inspiring solos by the sax player. The band cools things down with “Bwaata,” a quietly grandiose selection by DeJohnette, in which the players (and particularly Henderson) slowly turn up the intensity for a riveting performance throughout the nearly 11-minute-long track.

The flip side opens with the hypnotic “Song for Sinners,” which features a cameo by guitarist John Thomas and mesmerizing a-tonal chants. “Turned Around,” an upbeat, funk-tinged contribution by Holland, follows. Henderson then takes listeners on one final journey with “Among Others.” The track, which builds upon a dissonant sonic landscape, offers standout performances by Henderson and Willis, who shines particularly bright on the Rhodes piano.

Over the decades, Multiple has grown in stature to become a cult favorite of the ‘70s fusion explosion, long sought after by crate diggers and frequently praised by critics in retrospectives. Jazz Music Archives hailed it as “A magnificent album with no flaws…where Henderson shows everyone that he’s still a force to be reckoned with in the 70s.” Jazz Desk wrote, “Henderson is the greatest tenor saxophonist of this musical era…able to play very lyrical with the most delicate tone.” AllMusic declared that Multiple is “Henderson’s greatest album from this era,” adding, “And then there’s Henderson, blowing some of the most impassioned solos of his career. There’s an activism to his phrasing.”

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