Review: Mike Clark’s ‘Itai Doshin’

The title of Mike Clark’s latest record, Itai Doshin (Wide Hive, 2025) comes from the drummer’s Buddhist beliefs, a worldview shared with his onetime bandleader, Herbie Hancock. The title translates into the saying of  “many in body, one in mind.” That’s the equivalent in musical speak of ‘in the pocket.” Or, in plainer language, a shared groove passed back and forth through the many improvised solos. To realize this thought, Clark assembled for the session a supergroup of West Coast-based musicians with deep connections to the leader: trumpeter Eddie Henderson, tenor saxophonist Craig Handy, pianist Patrice Rushen, and bassist Henry “The Skipper” Franklin.

Itai Doshin follows Clark’s Kosen Rufu, another meeting with Henderson and Franklin, in that case, joined by Headhunters’ percussionist Bill Summers, saxophonist Skerik, and keyboardist Wayne Horvitz. Equally as expansive as its predecessor, even when visiting standards like Monk’s “Epistrophy,” a tune that bookends the record and has become Clark’s theme song of sorts. On the opening version, Handy and Henderson launch swinging solos, and Rushen, known primarily for her work on Rhodes, plays a jubilant acoustic piano. In the closer, Clark plays the melody on his kit, while the poised ensemble then enters like a racehorse ready to burst free. In between both “Epistrophy”s lies “Cherokee.” The piece, often played at breakneck tempos, is reimagined as a ballad with soft, expressive trumpet tones from Henderson and a lyrical masterclass from bassist Franklin. These artful arrangements are by drummer Towner Galaher. Galaher also brought in his version of Bob Marley and The Wailers’ “I Shot the Sheriff.” This particular piece was initially to Clark’s consternation but the ensemble, especially Rushen, with her exemplary Rhodes work, bathed the tune in layers of funky grease. 

With the exception of the brief, bright, enthusiastic blast of “Inside Zone,” which is penned by label owner Gregory Howe, the rest of the album consists of originals by Henderson, Franklin, and Clark. 

Henderson’s “Mganga” may well be his signature song. Reflecting the name the trumpeter adopted while in Hancock’s group, Mwandishi, the word – Swahili for “healer” – well reflects his background as a once practicing doctor of psychology. It’s a swinging piece that gives plenty of room to Handy and Rushen, in addition to the composer. Galaher’s arrangement runs the gamut between swing, samba, and funk – all elements of Henderson’s artistry. 

Jump blues enters the repertoire with Clark’s “Yakini’s Dance,” which features stellar turns from Henderson and Rushen. The preceding “Savant Clark” almost seems like it’s from another band. It’s not based in the usual groove but instead an abstract wild and free-form that provides a comfort zone for Franklin and Rushen. Even though most wouldn’t associate Henderson with this type of sound, he proves his versatility and is the shining star on the piece.

Franklin’s “Midori” goes in the other direction, a rather calming tune with hints of bossa, wherein his bass is prominent amidst dulcet tones from Henderson- (perhaps his best playing on any track – and Rushen. Clark’s cymbal work is also noteworthy. 

Although Clark will forever be associated with the Headhunters, a group he continues to co-lead decades later, his resume outside the band is fruitful with several trio albums with Leon Lee Dorsey, ensembles with saxophonist Mike Zilber, and several others. On Itai Doshin the drummer’s extensive vocabulary and versatility are concentrated to provide one fine effort.

‘Itai Doshin’ will be released on Wide Hive Records on October 3, 2025. It can be purchased directly from the label.