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Joe Henderson, who had made a name for himself with his Blue Note albums, was based at Milestone from the late 1960s onward, releasing a series of albums that pushed blackness to the forefront. In the summer of 1971, Joe Henderson visited Japan by himself and delighted Japanese audiences. One of the climaxes of his visit was a five-day concert series at Junk in Ginza, Tokyo. Henderson's Habiliment” is a record of that night. The powerful, emotionally rich, and lustrous playing is a masterpiece. The Japanese musicians who performed with him, Hideo Ichikawa, Kunimitsu Inaba, and Motohiko Hino, also showed their sharpness. Starting with “Junk Blues,” which even has a terrible taste, followed by the blaring “'Round About Midnight,” the deeper “Blue Bossa,” and the hip and beautiful “Black Narcissus,” which was not included on the American version of “In Japan,” the performance was so rich and full that it tore at the seams.
I don't care if it doesn't sell well, but let's make a record that has a whiff of culture. I want you to do jazz by Japanese people for Japanese people. With these words from the director, Hiroshi Matsumoto decided to record “Megalopolis”. The concept was “Tokyo. Inspired by the rapidly transforming Tokyo he saw from the plane, he set to work. Matsumoto, Hideo Ichikawa, Kunimitsu Inaba, and Motohiko Hino set up in a circle so that they could see each other's faces and movements. The four musicians recorded “A Day in the City,” a large suite-like piece; “Nostalgia,” which depicts a longing for the lost; “Megalopolis,” an exhilarating and exhilarating bird's-eye view of the city; “Serenade,” which is steeped in bittersweet ennui; and “Urban Irritability,” which seems to cut deep into the heart of a city. This is a masterpiece that depicts a huge city and its inhabitants with keen sensitivity and creativity. The original was released as one of the Victor “Jazz in Japan” series.
