THE HERBIE HANCOCK GROUP: HEAD HUNTERS

Herbie's first studio album since decommissioning his Mwandishi project. Herbie is stated to have said that he was tired of the spacey, high-end stuff and just wanted to bring it back down to Earth with some funk. It is important when listening to this album to remember how influential it was: both to other artists as well as on the tastes of the popular ear; this was, after all, at the time (until the 1976 phenomenon of George Benson's Breezin'), the highest selling jazz album of all-time!

1. "Chameleon" (15:41) the opening funk bass sound and line lets us know right off the bat what's going to be different about this music compared to the famous "Mwandishi sound" of Herbie's previous three years of work: Funk is paramount here. The problem here is how long Herbie stays affixed to a particular pattern and motif: it's as if it takes him 30 measures to get the feel of a pattern enough to be able to play within much less diverge or solo above it. I don't know if the rhythm section (or engineer) realized that they were speeding up in the sixth minute, beneath Herbie's funky ARP Soloist solo, but it's awkward for a bit until they all return to the pocket. At 7:40 there is a reset to let Paul Jackson and Harvey Mason reset their rhythm pattern. Now we're in Fender Rhodes territory--the soundscape that will become BOB JAMES' standard/go-to palette. Paul and percussionist Bill Summers start playing off one another, which is highly entertaining despite Herbie supposedly being in the lead up top. Harvey's innovative use of the hi-hat here might also have served to influence all future Disco drummers. I prefer this middle section to the opening one. At the 12-minute mark there is a reset bridge with those rich ARP strings and panning Fender Rhodes play. J-R Fuse Heaven! Now this is where Smooth Jazz came from! At 13:15 there is another reset bridge that allows the band to restart the opening motif. Here Bennie Maupin finally gets some front-time on his tenor sax. Nice. A song that contains so much innovation I can't justify down-rating it despite my not really liking the majority of it. (27/30)

2. "Watermelon Man" (6:29) a very popular song that is denigrated by the fact that to me it is a very thinly-veiled revisitation on Dobie Gray's big hit from 1964 (a Billy Page compostion), "The 'In' Crowd." Then there is the presence at the opening and ending of the odd breath and voice percussion (what would probably inspire a whole generation of Bobby McFerrins. (8.875/10)

3. "Sly" (10:18) a reference to he of the Family Stone? What starts out deceptively in some disarray becomes, quite suddenly, at the two-minute mark, a meteoric flight through high altitude with bass, drums, percussion, and clavinet all rushing wildly along in a very loose weave beneath Bennie Maupin's wild soprano saxophone play. Then Herbie gets a turn on his Fender electric piano. The man is so smooth! Paul Jackson's low end bass play paired up with Harvey Mason's hi-hat and cymbal work is pure genius! Somebody (Bennie Maupin) must be playing the clavinet beneath/alongside Herbie's two-handed Fender Rhodes exposition. I have to admit that I'd never really appreciated the drumming of Harvey Mason before this--cuz I'd never heard anything quite like this before. High marks for the extraordinary work of that dynamic middle section.(19/20)

4. "Vein Melter" (9:10) It would seem here that Harvey's semi-automatic militaristic snare and hi-hat riff would run contrary to the somber, etheric world being created by the rest of the band, but somehow it all works (except the ARP sounds: they sound so dated!) My favorite part is hearing Bennie Maupin playing with such feeling and emotion without having to blast it or even raise his "voice." Also, you can hear here the reverberating Fender Rhodes electric piano sound that everybody will be using over the next ten years: KOOL AND THE GANG "Summer Madness," Donald Fagen/STEELY DAN, BOZ SCAGGS Silk Degrees and so many more. (17.5/20)

Total Time 41:38

Thrust is my favorite Herbie album.

A-/five stars; a minor-masterpiece (and landmark album) of Jazz-Rock Fusion.