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Kérjen
árajánlatot! |
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| 1. | Watermelon Man
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| 2. | Cantaloupe Island
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| 3. | Maiden Voyage
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| 4. | Speak Like a Child
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| 5. | Tell Me a Bedtime Story
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| 6. | Chameleon
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| 7. | Actual Proof
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| 8. | Rockit
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| 9. | You've Got It Bad Girl
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Jazz / Jazz-Funk, Fusion, Post-Bop, Hard Bop, Modal Music, Electro-Jazz
Herbie Hancock - Clavinet, Clavitar, Fender Rhodes, Microphone, Piano, Piano (Electric), Synclavier, Synthesizer, Vocoder
Albert "Tootie" Heath - Drums
Bennie Maupin - Clarinet (Bass), Flute, Flute (Alto), Sax (Soprano), Sax (Tenor)
Bill Laswell - Bass
Bill Summers - Percussion
Billy Hart - Drums, Percussion
Billy Higgins - Drums
Buster Williams - Bass, Bass (Electric)
Butch Warren - Bass
Daniel Ponce - Bata
Dave Holland - Bass (Acoustic)
Dexter Gordon - Sax (Tenor)
Don Alias - Percussion
Freddie Hubbard - Trumpet
Garnett Brown - Trombone
George Coleman - Sax (Tenor)
Harvey Mason, Sr. - Drums
Jack DeJohnette - Drums
Joe Henderson - Flute (Alto), Sax (Tenor)
John Scofield - Guitar
Johnny Coles - Flugelhorn, Trumpet
Michael Brecker - Sax (Soprano)
Mickey Roker - Drums
Mike Clark - Drums
Paul Jackson - Bass (Electric)
Peter Philips - Trombone (Bass)
Ron Carter - Bass
Thad Jones - Flugelhorn
Tony Williams - Drums
* Adam Block - Project Manager
* Adam Owett - Art Direction
* Ben Young - Discographical Information
* Bob Belden - Arranger, Compilation Producer
* Bryan Koniarz - Project Manager
* Carlos Kase - Discographical Information
* Clare Walker - Packaging Manager
* Darren Salmieri - Coordination
* Deborah Hay - Editing
* Didier C. Deutsch - Coordination, Discographical Information
* Francis Wolff - Cover Photo
* Hollis King - Art Direction
* Howard Fritzson - Art Direction
* Jeff Jones - Executive Producer
* Jeffrey Peisch - Photo Research, Project Director
* John Christiana - Packaging Manager
* Ken Burns - Executive Producer
* Ken Druker - Project Manager
* Kristin Kozusko - Coordination
* Lauren Atlas - Packaging Manager
* Mark Wilder - Mastering
* Michael Cuscuna - Compilation Producer
* Mike Charlasch - Project Director
* Nate Herr - Project Manager
* Nathan Savage - Design
* Patti Matheny - Coordination
* Peter Keepnews - Liner Notes
* Ron Goldstein - Executive Producer
* Sarah Botstein - Project Director
* Seth Foster - Mastering
* Seth Rothstein - Project Director
* Victoria Gohl - Photo Research
In conjunction with the release of Ken Burns' ten-part, 19-hour epic PBS documentary Jazz, Columbia issued 22 single-disc compilations devoted to jazz's most significant artists, as well as a five-disc historical summary. Since the individual compilations attempt to present balanced overviews of each artist's career, tracks from multiple labels have thankfully been licensed where appropriate. This volume illustrates Herbie Hancock's metamorphosis from one of acoustic hard bop's finest composers to a pioneer of electric jazz-rock fusion, and finally into his brief yet popular flirtation with electro (the breakdance music that was techno's immediate forerunner). Serving in Miles Davis' legendary '60s quintet would have made Hancock a major figure in hard bop regardless, but his own albums for Blue Note were consistently impressive as well. Each of the four tracks here from those works -- "Watermelon Man," "Cantaloupe Island" (later sampled by jazz-rappers Us3 for a major hit), "Maiden Voyage," and "Speak Like a Child" -- are stone-cold classics. Hancock's highly popular fusion era is represented by three selections: one from his Mwandishi band that recorded for Warner Brothers and two from his Headhunters years on Columbia. And, of course, there's "Rockit," the catchy, all-electronic single that became a surprise hit thanks to MTV's embrace of its innovative video. The only questionable inclusion is a latter-day recording of the Stevie Wonder tune "You've Got It Bad Girl"; while it isn't bad, the space could have been used for another selection from one of Hancock's more historically important periods, since both the hard bop and fusion years were fertile enough to be covered in more detail. But even though there aren't many tracks on Ken Burns Jazz due to the lengths of the pieces included, the compilation does give an excellent idea of both the flavor and quality of Hancock's most important work.
---Steve Huey, All Music Guide
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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