HERBIE HANCOCK

Herbie Hancock - Mwandishi (1971)

Progressive fusion/free jazz

I really liked most of the Crossing album (followup of this first Mwandishi period album) and I wanted to try more music of the progressive Hancock on Warner Bros period.

On this first record of this new phase of Herbie Hancock there's some heavy music. The first track, Ostinato (Suite for Angela), has one repetitive main bass line in a very awkward time signature. The continuation of this theme gives an hypnotic atmosphere. Right in the beginning we hear a very heavy low brass solo with some frantic tones. After a while the band settles the sound and the solo's begin. All solo's are played very well with a lot of dynamics. The solo's are part of the progressive sound, they are daring in both harmonics and intelligent rhythms. Though this track is my favourite of the album, 13 minutes are a bit too much of exploration of one single theme.

You'll Know When You Get There is less structured and has some freejazz moments of wild soloing. The atmosphere is highly abstract and the composition is chaotic. I think the atmosphere is the main point of concern of this track. On side two Wandering Spirit Song continues the style of the second track of the album with freejazz/progressive jazz and some fusion parts, this times seemingly without any clear directions. Like it was completely improvised around a few ideas.

Conclusion. Though the first track is highly rewarding, the other parts of the album slip like sand through my fingers. Where to listen to? Where is this music going? What does this band try to show? Maybe my listening attitude is not developed enough to enjoy this free interpretation of the after be-bob genre with lot's of experimentation, but this should not influence my rating of this album. This is in a way really good music, but this isn't an excellent addition to most of our prog rock music collection. This is for true jazz fanatics, who don't care about the loss of structure in music. This might also appeal to people who like avant-garde, because of it's abstract atmospheres. So.. three stars. This might be very worthwhile if you invest enough time to get into the atmosphere of the music.

— First review of this album —

The flow of the music character that had been done for Herbie Hancock in the 70's was a route of the fusion of Funk taken to Jazz/Fusion that was able to be listened since "Headhunters". It might have been flowed consistently his work after it had transfered the register to CBS. And, the flow completely set up the establishment of directionality by "flood" that put the pattern of live that had been done in Japan in 1975. And, man who built the establishment of one electronic part as a flow after 1975 is creating music while concurrently distributing still another route.

The activity after especially 1975 might be a well-known fact for the fan and the listener. Herbie HancockHis from 1977 when Herbie Hancock gradually recurs to an acoustic again part activity is indeed done over the detail. And, it is a well-known fact that Japan was often chosen in the creation of his music character at this time and the recording of the album.

Herbie Hancock frequently visited Japan in 1978. It comes to Japan for competing with Chick Corea in February, 1978. And, it is live in the outdoors that had been held in Japan at that time. "Live Under The Sky" was a place of the activity that produced a lot of works for V.S.O.P. Quintet including Herbie Hancock. The sound source of live of them might be a still popular works for the fan. And, the tour in Japan that had been done from September 27th to October 16th of 1978 was a content where a lot of ideas and technical parts by his activity till then were included.

Many of works that he had announced in the latter half of the 70's were often recorded in Japan. When it visited Japan, it began the production of some albums though Herbie Hancock did not announce the sound source of live at this time as an album. Album in "The Piano" for Solo piano. And, a past sound source in "Direct step" is restructured. And, participation and the performance of this album have been left a little as a work for the project.

Kimiko Kasai that participates in this album takes charge of Vocal. She has been born on December 12, 1945. It is a singer in the field of Jazz/Fusion active in Japan from the 70's. And, after it participates in this album, she is moving the place of the activity to Los Angeles. This album is an album that puts the singer in Hancock Band at that time and is produced. There might be a little part of the project. However, a past sound source of Herbie Hancock is given and a new impression is given by dismantling and restructuring. The selection of the tune collected to the album might also indeed have diversity. This album might be able to be caught by "Direct step" and the pair when thinking about the flow of the work of Herbie Hancock. The construction of music with the expression and the age of the directionality of Herbie Hancock might have been considerably enhanced at this time.

"I Thought It Was You" is a tune collected to "Sunlight". And, "Direct step" is a tune taken up. It gets on the rhythm to which a very bright melody and song are steady. The progress of Chord is adjusted according to the width of the music scale of Kimiko Kasai. The composition in which elements of a few Dance Music are mixed with Funk and Fusion of Herbie Hancock to establish an electronic part might be splendid. Chorus in close relation to line of song of main. And, the taste of Bill Summers that takes charge of Alphonse Mouzon and the percussion instrument that makes a steady rhythm. The reply by the scat of Herbie Hancock to make good use of Kimiko Kasai and Vocoder done in the latter half of the tune might be splendid. There might be a little part of the session as development.

"Tell Me A Bedtime Story" is a tune collected to "Fat Albert Rotunda". The atmosphere of the age and the sound is reminiscent of the version of Quincy Jones though the composition of a basic melody is original faithful. The flow that continues an anacatesthesia and a transparent feeling might have a good part. The obbligati of the song and the synthesizer maintains the atmosphere of the tune while following the melody to listen in the original.

"Head In The Clouds" has the flow with good a piano obbligati and song of Herbie Hancock from the introduction to the guitar of Ray Obiedo. Elements of a few Blues. Part of melody with expression of feelings. They expand the impression of the album. The production of a transparent feeling in which it gets on a steady rhythm might be splendid.

"Maiden Voyage" starts by a song and a complete, transparent feeling. Help of the piano that supports the atmosphere of the song continues good production. Processing of Chord unified to music scale of song. And, the sound of the synthesizer that twines while following original atmosphere and the sound of the guitar. The melody shines. Solo of Sax of Bennie Maupin also contributes.

"Harvest Time" is Kimiko Kasai and a tune of Duo by Herbie Hancock. The flow of a beautiful ballade flows consistently. This tune is a tune that takes up Dianne Reeves back. The continuation of a melody and a transparent feeling that flows gently in the space might be splendid.

"Sunlight" is reproduced in shape almost faithful to original music. Groove that Hancock Band makes in union is exactly splendid. Flow of Groove of Bass that Paul Jackson makes. Chorus of Vocoder by Herbie Hancock. The oneness continues. And, it flows of a little increasing tempo from the original and the performance. Or, the idea that appoints Solo of Sax of Bennie Maupin. The tune made the perfection and the dash feeling further.

"Butterfly" might be one of the tunes of the representative in the tune of Herbie Hancock. The song to get on the flow that an original composition is faithfully reproduced also continues atmosphere. Rhythm slow that it gets on part of percussion instrument that expresses blissout. The tune advances getting on the progress of good Chord of Jazz/Fusion. Twining of Solo and keyboard of good guitar. Line of Bass that supports the flow from the under. Part of shift of theme intermittently repeated. It is finished because the singer was appointed to the composition that each musician's Solo is a little short. It is a tune with a very beautiful composition in the tune of Herbie Hancock.

Sensibilities of men who select "As" might be good. And, Hancock Band that performs this tune might be valuable. It is guessed that it chose by the flow from the work of Herbie Hancock by "Key Of Life" of Stevie Wonder. An almost original composition is faithfully reproduced. Good Groove and grand obbligati. And, the chorus of Herbie Hancock to make good use of Vocoder. There might be a good composition and an idea including Solo of Herbie Hancock.

It might be an album that exists at an especially special position in the work of Herbie Hancock. However, selection and the attempt of the band including the singer might have an interesting part. The interest is a deep work in this album as one of the histories of their music.

While this is a nice jazz album, which features popular, and not so popular, pop and rock songs from the sixties through the nineties, there is nothing progressive, and very little fusion to be found here.

The songs are mostly bebop, with fusion only in a couple of places, predominantly on Thieves In The Temple, by Prince, sort of played electric blues style. John Scofield's performance on the album doesn't elevate this to fusion either. Mostly, he plays in a stictly jazz style.

If I were rating this a a jazz album, I would probably rate it at four stars, but since we are talking prog, the best I can give it is three.

When I first heard this album back in 75 it struck me as a commercial sell-out. Certainly coming on the heels of the previous hyper abstract jazz avant-funk of Thrust, Man Child is more slicked up and maybe a little bit discofied, but I'm glad I revisited this gem because it rates right up there with some of Herbie's best. This album is mid-70s ultra-slick and reflects the then growing post-hippie move towards an urban cool ascetic. Gone is the frenetic soloing and sparse syncopated textures of Thrust, but in their place we get some of Hancock's best electronic/acoustic orchestrations that float on top of sophisticated interlocking funk rhythm patterns. This album moves beyond funk as introduced by Sly Stone and others, and carries the genre into complicated intersecting patterns that recall classic traditional African music and/or modern day minimalism.

It's that ultra-smooth sound of this album that turned me off in the past, but I now find to be one of it's main attractions. In a lot of ways this album recalls Herbie's 60s post-Miles work in which he backed his Debussy/lounge piano stylings with a mini orchestra for that ultimate loungecore-jazz meets mid-20th century composers sound. To further their appeal, the more laid back songs on Man Child have that 'modern in any era' sound that would have been perfect for cosmic martinis aboard the 60s version of The Starship Enterprise, or maybe one of the more avant early James Bond flicks.

Along with the three 'slow jams' we also get three up-tempo funk numbers, but this is funk Herbie style. Not as raw or bold as the JBs or Sly, Hancock's funk has a polished intellectual approach that weaves countless instruments together in a dense contrapuntal texture that is damn near impossible to reproduce with the relaxed finesse that this crew has. Although Herbie's playing on here tends to reflect the 'cool' approach of the music, on Hearbeat he unleashes one of his classic aggressive RnB meets McCoy Tyner solos.

Although once suspect as a possible part of the growing disco culture that spawned it, a few decades later, and totally removed from that culture, this album has taken on new life as the perfect combination of Hancock's 60s cool jazz, and his early 70s jazz/funk.

Typical 50's/60's jazz is what we are dealing with when we play a Hancock album. At least where this one is concerned. It s my first encounter with this great jazz musician who you could call the brilliant equivalent of Miles Davis but then on the piano. And I don't think it's going to be my last purchase of this genius.

And it's also one of my favourite jazz styles he is playing. It's only the smooth Steely Dan/Donald Fagen style that can match this one for my personal taste. Relaxed, improvising background jazz, the kind you will experience in any fancy restaurant. I love it big time and I can listen to it for hours without getting bored. The individual songs don't really matter here, it's the style that does the job.

So first class jazz in my book for sure. But if I compare it to the much proggier Brand X for instance it falls short in a way. Well, okay, the subgenre is called Jazz rock/fusion and not jazz prog so I think it's allright Herbie Hancock is in the archives. But it does prevent me from giving the very highest score because we're after all a prog site to begin with. Therefore 4 stars is the only correct score for me. Highly recommended for the real jazz lovers who adore the piano improvisation accompanied by bass and wind instruments.

Sound -System is logical next step after Future Shock album. Using the very same techno-pop electronic rhythms and song structures, Hancock added at least two new things, which are doing this album more listenable.

First, he made the sound a bit heavier, even using rock elements in some places. The opening song Hardrock (which isn't hard rock or even rock at all for sure) is Rockit analogue with much heavier sound and even heavy metal guitar line added.

Second, he incorporated in his music strong African element with the addition of the Gambian multi-instrumentalist Foday Musa Suso on half of the tracks. These tracks, with quite attractive world fusion sound, less electronic effects and even more jazzy in places, are most interesting part of that album.

By the way, Hancock continued collaboration with Foday Musa Suso and released some more albums with him.

Generally, better than Hancock's disco-funk era albums, still not return to form. But could be enjoyable, especially if you are not afraid of electronics sound and like world fusion at the same time.

Herbie Hancock plays disco and sings. Disco rhythm rules. More vocalists and even heavy rock guitar solos are added.

Carlos Santana is a guest. Disco rhythm are slightly influenced by funk. Songs are pure dance products, but are played and recorded professionally.

I don't think this work could be interesting for anyone with love to jazz, funk or progressive. Only could be recommended if you're searching for disco album with professional arrangements for you disco party. In all other cases better avoid.

Herbie Hancock started his second after "Mwandishi" experimental period establishing "Head-hunters" and playing jazz-funk fusion. If first albums were all very progressive gem ( I personally prefer "Thrust" from all Head-hunters period), he slightly changed direction to more commercial. And "Secrets" is a very first step in this way. If his previous album Man-Child was still very experimental, but with concentration on funk rhythm against any melodies, Secrets tried to attract listener with less complex compositions and much more dance oriented music.

It is still jazz-funk fusion, but you will easily fell disco influence. Even Hancock old standard Cantelope Island sounds there as accessible version for dance floor. Whenever Hancock has all collection of pop-oriented recordings, for me they are of two kinds. Some are almost unlistenable because of simplification and accented pop-accessibility, and another are still musically strong albums, even if commercially oriented. The Secrets depends to another group: I am not happy with it's musical direction, but still can enjoy some moments and musicians techniques and professionalism in total.

This album is a real candidate to be a worst Hancock album ever. Even if for some periods Hancock intensively flirted with pop-funk, at least his technique of musicianship was always at the high level.

On Feet, Don't Fail Me Now we can find not very professional disco, with simple dance structures, Hancock vocal (even using of Vocoder didn't help!). Back up voices are in soul traditions, and all musicians are trying to make the music as accessible as it possible (they know for sure how to play better, in fact there all Hancock's classic team is presented).

All music sounds as semi-pro band playing in small town Saturday night disco. Very terrible! Happily, the album is only 40 minutes long.

Putting Mwandishi (Hancock's African name) in the title of this collection was sort of misleading. I had assumed this was the complete collection of Herbie's incredible avant- fusion Sextet (confusingly enough, also called Mwandishi). Unfortunately, it turns out that about half of the Sextet's small discography is on Columbia, so what we get on this Warner collection is two progressive psychedelic Sextet albums, plus Fat Albert Rotunda, Herbie's first shot at funky RnB jazz. Fat Albert is 60s rare groove jazz at it's best, but it's no match for the esoteric excursions of the far more adventurous Sextet. The only thing these two disparate recording ensembles have in common is Hancock himself, and his unique innovative small horn ensemble orchestrations, as well as his usual futuristic space lounge sensibilities.

Hopefully someday someone will make a CD collection of The Mwandishi Sextet's three studio albums, plus their contributions to Hancock's Death Wish soundtrack and their reunion appearance at Herbie's first VSOP concert. For a really fantastic box set they could also include all the incredible Sextet spin-off groups led by Hancock's side men; Bennie Maupin, Eddie Henderson and Julian Priester.

This Warner collection isn't a bad introduction to the music of Herbie Hancock. You get the fun grooves of Fat Albert, plus the African space orchestra odysseys of the Sextet. That combination of intellectual challenge with warm human emotion pretty much sums up Herbie's amazing music and career.