Henderson, Michael (1951-2022)

He was a sideman with Stevie Wonder and Miles Davis before embarking on a successful second career as a singer of soulful, romantic ballads.Michael Henderson, a self-taught bassist who performed and recorded in the 1960s and ’70s with Stevie Wonder and Miles Davis, then remade himself as a soulful balladeer and songwriter, died on Tuesday at his home in Dallas, Ga., a suburb of Atlanta. He was 71.His son, Michael Jr., said the cause was cancer.Mr. Henderson began his career early. He was about 14 and on tour with the Detroit Emeralds, an R&B group, when he met Mr. Wonder at a theater in Chicago.“There was a piano upstairs where the dressing rooms were,” Mr. Henderson said in the liner notes to “Take Me I’m Yours: The Buddah Years Anthology” (2018), a two-CD collection of his records from the 1970s and ’80s released by Soul Music Records. “Stevie was playing something I’d heard before, so I got my bass and sat down next to him. He started playing, and I started playing right along with him.”Mr. Wonder soon hired him. For the next five years, Mr. Henderson toured with Mr. Wonder while also working as a session musician for Motown Records. He said he had learned all he could from the influential Motown bassist James Jamerson, who would sometimes come to clubs or recording sessions where Mr. Henderson was playing.“I stayed close to James’s sound but began adding in my little stuff every now and then,” he said in the “Anthology” liner notes. “I’d go up the neck and find higher notes.”Mr. Henderson’s skills had advanced enough to pique Miles Davis’s interest when he heard him play with Mr. Wonder’s band in 1970 at the Copacabana in Manhattan. Davis had already begun using electric instruments and rock rhythms on “Bitches Brew” and other albums; now he wanted to take his music in more of a funk direction and decided to hire Mr. Henderson, who was not a jazz musician, to replace Dave Holland, who was best known as an upright bassist but had begun playing the electric bass with Davis.When the show was over, Mr. Henderson recalled in a 2017 interview for the website Lee Bailey’s Eurweb, which covers urban entertainment, sports and politics, Davis came backstage and told Mr. Wonder that he was “taking” his bass player.Over the next few years, Mr. Henderson recorded a string of albums with Davis, including “A Tribute to Jack Johnson,” “Live-Evil” and “On the Corner.” In a 1997 review of CD reissues of five Davis albums from 1969 to 1973, the New York Times critic Ben Ratliff cited “Live-Evil” and “In Concert: Live at Philharmonic Hall” as evidence of Mr. Henderson’s noticeable impact on Mr. Davis’s band.“Mr. Henderson made Davis’s band sound less searching, more hypnotic,” Mr. Ratliff wrote. “Instead of improvising and interacting with the band, he took a simple bass vamp and percolated it endlessly.”Mr. Henderson with Davis at the Montreux Jazz Festival in 1973. One critic said that Mr. Henderson, who did not have a jazz background, had “made Davis’s band sound less searching, more hypnotic.”David Warner Ellis/Redferns, via Getty ImagesMichael Earl Henderson was born on July 7, 1951, in Yazoo City, Miss., and moved to Detroit with his mother, Rose Williams, who sang in church, and his stepfather, Earl Henderson, when he was young. During his childhood, he played cello and then switched to bass. Precociously talented, he was performing with local bands before his 12th birthday.“Mom was always cool with the noise I was making in the basement and backyard, and later as I began playing in the local bar scene,” he said in the liner notes. When he was 10 or 11, he saved enough money to take a bus to see a bill of Motown artists at the Fox Theater.“I told myself, ‘One day, I’m going to be onstage with all those artists,’” he said.Mr. Henderson was a sideman until 1976 — the year his time with Davis ended — when the jazz drummer and bandleader Norman Connors invited him to write and record a song for his album “Saturday Night Special.” He sang that song, “Valentine Love,” with Jean Carne. Mr. Henderson wrote and sang on the title song of Mr. Connors’s next album, “You Are My Starship,” and sang a duet with Phyllis Hyman on his song “We Both Need Each Other.”After making a deal with Buddah Records in 1976, Mr. Henderson’s transformation into a sexy crooner and songwriter continued. The cover of his 1981 album, “Slingshot,” showed him on a beach wearing a tiny aqua swimsuit.When Mr. Henderson appeared at the Roxy Theater in West Hollywood in 1979, Connie Johnson, a pop critic for The Los Angeles Times, wrote that he “isn’t a platinum sex symbol in the manner of Teddy Pendergrass — yet,” adding, “Currently, he’s in the same league as Peabo Bryson and Lenny Williams.”Mr. Henderson found success on the Billboard R&B chart with singles like “Take Me I’m Yours,” which hit No. 3 in 1978; “Wide Receiver,” which peaked at No. 4 in 1980, and “Can’t We Fall in Love Again,” another duet with Ms. Hyman that rose to No. 9 in 1981.After seven albums for Buddah, the last of them in 1983, he recorded “Bedtime Stories” for EMI America in 1986. That was his last solo album, although he continued to perform.In addition to his mother and a son, Mr. Henderson is survived by his daughters, Chelsea and Michelle Henderson, and his companion, DaMia Satterfield. He was separated from his wife, Adelia Thompson.In 2002, Mr. Henderson returned to Miles Davis’s music. He and several other Davis alumni, including the saxophonist Sonny Fortune and the drummer Ndugu Chancler, formed the group Children on the Corner; a year later, they released the album “Rebirth,” which reinterpreted and recreated Davis’s electric music from the 1970s.“This ain’t no smooth jazz,” Mr. Henderson told All About Jazz in 2003. “Don’t come to hear us and get ready to eat your steak and sit there and have a conversation with your old lady. It ain’t happenin’. Because when we hit the stage, we mean business. We’re going for the throat.” More