{"id":11401,"date":"2025-10-02T20:41:59","date_gmt":"2025-10-03T01:41:59","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11401"},"modified":"2025-10-02T20:41:59","modified_gmt":"2025-10-03T01:41:59","slug":"itai-doshin-mike-clark-review","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/itai-doshin-mike-clark-review\/","title":{"rendered":"Review: Mike Clark\u2019s \u2018Itai Doshin\u2019"},"content":{"rendered":"\n<p>The title of Mike Clark\u2019s latest record, <em>Itai Doshin<\/em> (Wide Hive, 2025) comes from the drummer\u2019s Buddhist beliefs, a worldview shared with his onetime bandleader, Herbie Hancock. The title translates into the saying of&nbsp; \u201cmany in body, one in mind.\u201d That\u2019s the equivalent in musical speak of \u2018in the pocket.\u201d 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 \u201cThe Skipper\u201d Franklin.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_hH8DyrdeU6M\"><div id=\"lyte_hH8DyrdeU6M\" data-src=\"\/\/i.ytimg.com\/vi\/hH8DyrdeU6M\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/hH8DyrdeU6M\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/hH8DyrdeU6M\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p><em>Itai Doshin<\/em> follows Clark\u2019s <em>Kosen Rufu<\/em>, another meeting with Henderson and Franklin, in that case, joined by Headhunters\u2019 percussionist Bill Summers, saxophonist Skerik, and keyboardist Wayne Horvitz. Equally as expansive as its predecessor, even when visiting standards like Monk\u2019s \u201cEpistrophy,\u201d a tune that bookends the record and has become Clark\u2019s 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 \u201cEpistrophy\u201ds lies \u201cCherokee.\u201d 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\u2019 \u201cI Shot the Sheriff.\u201d This particular piece was initially to Clark\u2019s consternation but the ensemble, especially Rushen, with her exemplary Rhodes work, bathed the tune in layers of funky grease.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>With the exception of the brief, bright, enthusiastic blast of \u201cInside Zone,\u201d which is penned by label owner Gregory Howe, the rest of the album consists of originals by Henderson, Franklin, and Clark.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_Z1ROa-u4RA0\"><div id=\"lyte_Z1ROa-u4RA0\" data-src=\"\/\/i.ytimg.com\/vi\/Z1ROa-u4RA0\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/Z1ROa-u4RA0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/Z1ROa-u4RA0\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Henderson\u2019s \u201cMganga\u201d may well be his signature song. Reflecting the name the trumpeter adopted while in Hancock\u2019s group, Mwandishi, the word &#8211; Swahili for \u201chealer\u201d &#8211; well reflects his background as a once practicing doctor of psychology. It\u2019s a swinging piece that gives plenty of room to Handy and Rushen, in addition to the composer. Galaher\u2019s arrangement runs the gamut between swing, samba, and funk &#8211; all elements of Henderson\u2019s artistry.&nbsp;<\/p>\n\n\n\n<p>Jump blues enters the repertoire with Clark\u2019s \u201cYakini\u2019s Dance,\u201d which features stellar turns from Henderson and Rushen. The preceding \u201cSavant Clark\u201d almost seems like it\u2019s from another band. It\u2019s 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\u2019t associate Henderson with this type of sound, he proves his versatility and is the shining star on the piece.<\/p>\n\n\n\n<p>Franklin\u2019s \u201cMidori\u201d 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 &#8211; and Rushen. Clark\u2019s cymbal work is also noteworthy.&nbsp;<\/p>\n\n\n\n<p>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 <em>Itai Doshin <\/em>the drummer\u2019s extensive vocabulary and versatility are concentrated to provide one fine effort.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>\u2018Itai Doshin\u2019 will be released on Wide Hive Records on October 3, 2025. It can be purchased <a href=\"https:\/\/www.widehive.com\/discography\/mikeclarkitaidoshin\">directly from the label<\/a>. <\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The title of Mike Clark\u2019s latest record, Itai Doshin (Wide Hive, 2025) comes from the drummer\u2019s Buddhist beliefs, a worldview shared with his onetime bandleader, Herbie Hancock. The title translates into the saying of&nbsp; \u201cmany in body, one in mind.\u201d That\u2019s the equivalent in musical speak of \u2018in the pocket.\u201d Or, in plainer language, a [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11400,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":211,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-11401","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?fit=846%2C564&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2XT","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":10771,"url":"https:\/\/postgenre.org\/staging\/4567\/review-itai-kriss-daybreak\/","url_meta":{"origin":11401,"position":0},"title":"Review: Itai Kriss\u2019 \u2018Daybreak\u2019","author":"Jim Hynes","date":"June 25, 2025","format":false,"excerpt":"New York-based flutist Itai Kriss leads his quartet and special guests on Daybreak (JoJo, 2025), an album sequenced to follow the progression of a day. Kriss has musical roots in Israel, but those influences are subtle here. Instead, traditional jazz, gospel, Brazilian, and Afro-Cuban strains course through the music. Other\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=944%2C630&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=944%2C630&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=944%2C630&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=944%2C630&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11164,"url":"https:\/\/postgenre.org\/staging\/4567\/alexander-herring-split-decision\/","url_meta":{"origin":11401,"position":1},"title":"Review: Eric Alexander and Vincent Herring\u2019s \u2018Split Decision\u2019","author":"Jim Hynes","date":"August 21, 2025","format":false,"excerpt":"Tenorist Eric Alexander and altoist Vincent Herring celebrate the twentieth anniversary of their first saxophone \u2018battle\u2019 on Split Decision (SMOKE Sessions, 2025),\u00a0 recorded live at NYC\u2019s SMOKE Jazz Club. This is the third time on record that the two giants have sparred, with each session growing a little friendlier since\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11024,"url":"https:\/\/postgenre.org\/staging\/4567\/review-jimmy-greenes-as-we-are-now\/","url_meta":{"origin":11401,"position":2},"title":"Review: Jimmy Greene\u2019s \u2018As We Are Now\u2019","author":"Jim Hynes","date":"July 22, 2025","format":false,"excerpt":"Saxophonist and composer Jimmy Greene is recognized by many as a vital member of Ron Carter\u2019s Foursight Quartet, which will be appearing at the 2025 Newport Jazz Festival. 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The Ensemble\u2019s success has come largely due to its stated goal of cultivating a musical ecosystem that honors diversity while focusing on equity, belonging, and cultural responsiveness. 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