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| Mwandishi - The Complete Warner Bros. Recordings (2CD) |
| Herbie Hancock |
első megjelenés éve: 1971
124 perc |
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| (1994)
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2 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Wiggle-Waggle
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| 2. | Fat Mama
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| 3. | Tell Me a Bedtime Story
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| 4. | Oh! Oh! Here He Comes
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| 5. | Jessica
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| 6. | Fat Albert Rotunda
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| 7. | Lil' Brother
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| 8. | Ostinato
Suite for Angela
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| 9. | You'll Know When You Get There
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| 2. CD tartalma: |
| 1. | Wandering Spirit Song
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| 2. | Sleeping Giant, Pts. 1-5
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| 3. | Quasar
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| 4. | Water Torture
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Jazz / Post-Bop; Jazz-Funk; Fusion
Recorded: Dec 31, 1970
*October 4 and December 8, 1969, Van Gelder Studio, Englewood Cliffs, New Jersey between
* December 31, 1970, Wally Heider Recording Studios, San Francisco, California
* from February 15-17, 1972, Pacific Recording Studios, San Mateo, California
* Different Fur Trading Company, San Francisco, California
Includes the albums:
* FAT ALBERT ROTUNDA (1970)
* MWANDISHI (1971)
* CROSSINGS (1972)
Herbie Hancock - acoustic, electric & Fender Rhodes pianos, mellotron, percussion
Candy Love - vocals
Sandra Stevens - vocals
Benny Maupin - soprano saxophone, piccolo, alto flute, bass clarinet, percussion
Joe Farrell - alto & tenor saxophones
Joe Henderson - tenor saxophone, alto flute
Eddie Henderson - trumpet, flugelhorn, percussion
Johnny Coles - trumpet, flugelhorn
Joe Newman - trumpet
Ray Alonge - French horn
Julian Priester - alto, tenor & bass trombones, percussion
Garnett Brown - trombone
Ron Montrose - guitar
Eric Gale - guitar
Buster Williams - acoustic & electric basses, percussion
Jerry Jermott - electric bass
Billy Hart - drums, percussion
Albert "Tootie" Heath - drums
Bernard Purdie - drums
Disc 1: 57:08 min.
Disc 2: 66:39 min.
While no one can argue that Herbie Hancock's early Blue Note recordings aren't milestones in his career and some are as enduring as any other jazzman's in history, the mostly overlooked Warner Bros. period remains one of his most adventurous, creatively satisfying, and amazingly enduring. The three albums presented here all offer wildly different sides of Hancock after he left Miles Davis. All of them are presented here in their entirety, with copious notes by Bob Blumenthal, who interviewed Hancock for the package. The set begins with the wildly joyous, deep, funky groove of Fat Albert's Groove, the music Hancock recorded for Bill Cosby's Saturday morning cartoon show. These seven tracks, with their three-horn front line (originated for Hancock on his final Blue Note album, Speak Like a Child) of Joe Henderson on flute and tenor, Johnny Coles' trumpet, and Garnett Brown's trombone, are singing, lyrical funk grooves that predated Headhunters by a few years and swung way harder by sticking back and lying in the groove as much as possible. Hancock's electric piano teamed with Tootie Heath and Buster Williams to form an unbeatable, gutsy, and stomping rhythm section. The band was fleshed out on a couple of tracks by additional horns, additional drums and percussion, and electric guitars. After such a melodic entry, Warners' executives must have been shocked when Hancock brought them the abstract funkified impressionism of Mwandishi. Comprised of three long tracks, the album showcased Hancock's brief preoccupation with free jazz improvisation and long intervallic inventions on modal frames. Hancock had kept only Buster Williams in the sextet that recorded both Mwandishi and Crossings. He added Billy Hart, Eddie Henderson, Julian Priester, and Bennie Maupin to fill out his newfound electric preoccupation. This same band with the addition of a few sidemen recorded the completely gone Crossings. This record sank from the market like a stone, with its commercial appeal only found a year later when Hancock moved to Columbia to issue first Sextant and then Headhunters. The music on Crossings is a blend of street music and Sun Ra; it's a completely proletarian approach to out jazz that keeps it close to the street while fully exploring the varying tonal and rhythmic changes that were going on in jazz at the time. Again, only three tracks appear, though the first is a long, brazen expressionistic suite ("Sleeping Giant") that makes the more abstract moments on "Water Torture" possible for listeners to find themselves in. This double-CD package is carried only sporadically by record shops, and as inexpensive imports the three original albums can be found separately. But why would anyone want to? The musical evolution present here in the composer, arranger, and pianist is absolutely the most visionary and large-scale in his career. Where the music misses, it does so bravely, when it's on, it goes for the jugular and grooves right on in.
---Thom Jurek, AMG
Includes liner notes by Bob Blumenthal.
Herbie Hancock
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 12, 1940 in Chicago, IL
Genre: Jazz
Styles: Electro, Funk, Fusion, Hard Bop, Jazz-Funk, Modal Music, Post-Bop
Herbie Hancock will always be one of the most revered and controversial figures in jazz -- just as his employer/mentor Miles Davis was when he was alive. Unlike Miles, who pressed ahead relentlessly and never looked back until near the very end, Hancock has cut a zigzagging forward path, shuttling between almost every development in electronic and acoustic jazz and R&B over the last third of the 20th century. Though grounded in Bill Evans and able to absorb blues, funk, gospel, and even modern classical influences, Hancock's piano and keyboard voices are entirely his own, with their own urbane harmonic and complex, earthy rhythmic signatures -- and young pianists cop his licks constantly. Having studied engineering and professing to love gadgets and buttons, Hancock was perfectly suited for the electronic age; he was one of the earliest champions of the Rhodes electric piano and Hohner clavinet and would field an ever-growing collection of synthesizers and computers on his electric dates. Yet his love for the grand piano never waned, and despite his peripatetic activities all around the musical map, his piano style continues to evolve into tougher, ever-more-complex forms. He is as much at home trading riffs with a smoking funk band as he is communing with a world-class post-bop rhythm section -- and that drives purists on both sides of the fence up the wall.
Having taken up the piano at age seven, Hancock quickly became known as a prodigy, soloing in the first movement of a Mozart piano concerto with the Chicago Symphony at the age of 11. After studies at Grinnell College, Hancock was invited by Donald Byrd in 1961 to join his group in New York City, and before long, Blue Note offered him a solo contract. His debut album, Takin' Off, took off indeed after Mongo Santamaria covered one of the album's songs, "Watermelon Man." In May 1963, Miles Davis asked him to join his band in time for the Seven Steps to Heaven sessions, and he remained there for five years, greatly influencing Miles' evolving direction, loosening up his own style, and upon Miles' suggestion, converting to the Rhodes electric piano. In that time span, Hancock's solo career also blossomed on Blue Note, pouring forth increasingly sophisticated compositions like "Maiden Voyage," "Cantaloupe Island," "Goodbye to Childhood," and the exquisite "Speak Like a Child." He also played on many East Coast recording sessions for producer Creed Taylor and provided a groundbreaking score to Michelangelo Antonioni's film Blow Up, which gradually led to further movie assignments.
Having left the Davis band in 1968, Hancock recorded an elegant funk album, Fat Albert Rotunda, and in 1969 formed a sextet that evolved into one of the most exciting, forward-looking jazz-rock groups of the era. Now deeply immersed in electronics, Hancock added the synthesizer of Patrick Gleeson to his Echoplexed, fuzz-wah-pedaled electric piano and clavinet, and the recordings became spacier and more complex rhythmically and structurally, creating its own corner of the avant-garde. By 1970, all of the musicians used both English and African names (Herbie's was Mwandishi). Alas, Hancock had to break up the band in 1973 when it ran out of money, and having studied Buddhism, he concluded that his ultimate goal should be to make his audiences happy.
The next step, then, was a terrific funk group whose first album, Head Hunters, with its Sly Stone-influenced hit single, "Chameleon," became the biggest-selling jazz LP up to that time. Now handling all of the synthesizers himself, Hancock's heavily rhythmic comping often became part of the rhythm section, leavened by interludes of the old urbane harmonies. Hancock recorded several electric albums of mostly superior quality in the '70s, followed by a wrong turn into disco around the decade's end. In the meantime, Hancock refused to abandon acoustic jazz. After a one-shot reunion of the 1965 Miles Davis Quintet (Hancock, Ron Carter, Tony Williams, Wayne Shorter, with Freddie Hubbard sitting in for Miles) at New York's 1976 Newport Jazz Festival, they went on tour the following year as V.S.O.P. The near-universal acclaim of the reunions proved: that Hancock was still a whale of a pianist; that Miles' loose mid-'60s post-bop direction was far from spent; and that the time for a neo-traditional revival was near, finally bearing fruit in the '80s with Wynton Marsalis and his ilk. V.S.O.P. continued to hold sporadic reunions through 1992, though the death of the indispensable Williams in 1997 cast much doubt as to whether these gatherings would continue.
Hancock continued his chameleonic ways in the '80s: scoring an MTV hit in 1983 with the scratch-driven, proto-industrial single "Rockit" (accompanied by a striking video); launching an exciting partnership with Gambian kora virtuoso Foday Musa Suso that culminated in the swinging 1986 live album Jazz Africa; doing film scores; and playing festivals and tours with the Marsalis brothers, George Benson, Michael Brecker, and many others. After his 1988 techno-pop album, Perfect Machine, Hancock left Columbia (his label since 1973), signed a contract with Qwest that came to virtually nothing (save for A Tribute to Miles in 1992), and finally made a deal with PolyGram in 1994 to record jazz for Verve and release pop albums on Mercury. Well into a youthful middle age, Hancock's curiosity, versatility, and capacity for growth showed no signs of fading, and in 1998 he issued Gershwin's World. His curiosity with the fusion of electronic music and jazz continued with 2001's Future 2 Future, but he also continued to explore the future of straight-ahead contemporary jazz with 2005's Possibilities. An intiguing album of jazz treatments of Joni Mitchell compositions, called River: The Joni Letters, was released in 2007.
---Richard S. Ginell, All Music Guide |
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