This post is by Dan
Recorded December, 1989
After the release of his Present Tense album, Joe Locke became a regular member of Eddie Henderson's quintet for more than a decade. Listening to Think on Me reveals how well the pairing of vibes and trumpet sounds. Henderson granted Locke plenty of solo space and included two of the vibist's original compositions, which are the longest pieces on the album.
Along with Locke's vibes and Henderson's gorgeous sound on trumpet, the percussion of Billy Hart grabs attention in all the right ways. On the fast-paced "Bilal," he pushes the soloists hard and they respond vigorously. His trading of fours with Henderson near the end is remarkable. He's also the driver of the title track, composed by pianist George Cables, taking what sounds like a variation on "Maiden Voyage" way beyond the ordinary.
Locke lays out on the two ballads, which are played beautifully by the remaining quartet. Henderson's tone on open horn is rich and full, and Kenny Barron's solo on "Everytime We Say Goodbye" is a model for improvising at a slower tempo.
Locke's two compositions offer the most intriguing solo opportunities for the rest of the players. "Restless Dreams" is a modal affair with alternating free-form and chord-based sections, allowing each soloist a chance to play both ways. It reminds me of some of Jackie McLean's tunes from the mid-1960s, when he explored newly found freedoms.
Locke's "Seven Beauties" begins with a long introduction with Henderson on mute over a roiling dark bottom. I think this is where Locke plays the Yamaha DX7, unobtrusively but with a positive effect. The majestic theme is played in 3/4 (or 6/8) time and offers plentiful material for the soloists to explore. The outro begins noisily (in a good way) before fading down to end the album.
There's a lot to enjoy on Think on Me. Henderson made a good move to include the rising Locke with a team of veteran performers, especially Hart and Barron.
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