FUTURE 2 FUTURE

In 2001 drumnbass rhythms had already been around for about seven years, still the time was ripe for one of the big names in progressive fusion to step forward and weld those rhythms to jazz and make the ultimate 'futuristic' groove album. Having mixed cutting edge electronics with jazz to great success three previous times in his career, Herbie Hancock seemed like a natural for the job. Add to that a call to his former producer Bill Laswell, who helped Herbie's electro-boogie/hip/hop jazz single Rockit become a smash hit and we have the recipe for sure success, ..right? Wrong! ...something went amiss here, this project started out with the best intentions; marrying Africa's rich musical traditions with the latest beats and technology with the help of a star-studded cast from the worlds of jazz, techno and RnB, unfortunately everyone forgot one very key ingredient, really good songs.

This album is just one big disappointment from start to finish. All the cool beats and special guests in the world can't hide the fact that there are no songs, melodies, hooks or choruses of any kind to be found anywhere on here. Throughout this album pretentious spoken word segments promise great things, but like the emprorer's fabled clothing nothing ever materializes. Most of the songs consist of prominent programmed beats that seem to exist by themselves in complete ignorance of the music joined to said beats, said music usually consists of rather vague sampled jazz orchestrations that seem superfluous to the provided beat.

It's not that this music is too new and modern for these old jazz ears, I love new music and have followed DJ music and culture since Kurtis told us about the breaks. Newness and unfamiliarity are not the problems here, a genuine lack of 'music' is.

Not all is lost here, Chaka Khan's The Essence holds up well as Chaka makes her stake in the world of neo-soul, a genre that is perfect for her raspy voice and nasal delivery. Rob Swift's skills on a pair of turntables is a pure delight on This is Rob Swift. Techno wiz Carl Craig and Herbie create a thick Afro-futuristic landscape on Herbero Part I, and Ionosphere mixes a Herbie neo-classical orchestrated melody with some nice electric piano and some mad drumnbass beats, but once again the music seems to be added after the fact and does not really blend with the beat at all.

So much potential was wasted here, certainly Herbie and Laswell and their incredible list of friends could have created the ultimate futuristic blend of electronics, Africa and jazz, but instead they moved too quickly and did not take the time to write something that would last beyond the trendiness of the moment.

It had made remarks on Herbie Hancock by the interview before. It was for the role of the part of the cycle concerning his music character, the purpose, and directionality. Expression of footprint, evolution of ten years connected from Watermelon Man that he announced at time of 1963 with Head Hunters, and purpose. And, the method of the expression in the activity of ten years that reaches Future Shock at last.

It is said that he had a surprise and a mysterious impression in the part expressed when interviewing it as this role at ten cycles of year. Largest, impressive respect might appear in his flexibility and dual nature in the part expressed as the role concerning his music character. It applied to relations and the form to Jazz and the degree of freedom that did not fit in gave his respect as an impression. If the role of music was a challenge to the intellect, he might always have been practicing a mental side of music.

Both sides of maintenance and the reform might be remarkably reflected in this album. Having shown expression of feelings respect for competing with Chick Corea might have appeared in the performance of Herbie Hancock. And, the conversion of directionality in "Headhunters" and both sides of the sense might have progressed by the antenna that he always has.

Part of role of Bill Laswell that especially bears union of shade of meaning and concept of revival with Bill Laswell for this album. The processing performance is united to the sense of accompanied peel Herbie Hancock and Music it. These flows might be remarkable in the situation produced in cooperation with various musicians. Existence of A Guy Called Gerald of UK Drum n 'Bass appointed here. Or, the work of Carl Craig of the Detroit techno agrees by the content of this album, too. It is likely to agree as a connection of the expressionist who is having them express the line of acid jazz and techno jazz in such young man's appointment.

The fan and the listener will imagine shape in the future of "Future Shock" if it listens to this album. Introduction of techno and Drum n 'Bass. And, shape to arrange old friend's musician everywhere offers the sensibility of Herbie Hancock attended with the concept. Because the concept in the album is arranged in the album to some degree, construction and the sensibility of the melody might be loose according to technical respect.

It made remarks on Herbie Hancock at time when former "Gershwin's World" was announced. ｢I did not want to make the simple Jazz album that everyone was able to make. It tried to make music that other people made and different music. It is an original music character without doing other competitions. ｣It is reflected in this album of the music character at which he was always aiming to say nothing of pursuit, flexibility, and a free conception. However, the conviction that embraces the music united as a reaction of the fan to the part done as a creation of music new as it is reflected in this album name and one purpose might be not certain. It is true in him to always pursue reformative music though of course, there might be an opinion of the approval or disapproval, too.

In addition, it might be in the point that the musician appointed for the recording of this album has both sides by the tune if supplementing. Performance of tune by musician of standard Jazz. Or, the opinion and the plan of Bill Laswell and Herbie Hancock to say nothing of the arrangement of the tune that pushes the element of techno and Drum n 'Bass out forward and using properly might be reflected. And, the overall construction might be music of future that Herbie Hancock thinks about with the concept. It had made remarks on Herbie Hancock before. In the very expression of union and the directionality of the purpose and "The act of matching the element of other music to standard Jazz and the rhythm is an approach to my music" concept by the content of this album, the mistake is not found.

"Wisdom" has the role of Interlude of this album. The sound and the narration of the keyboard with a futuristic melody make the listener expect music of new.

The element of the music of Africa that Herbie Hancock followed exists together to the element of techno in "Kebero Part 1". The construction of a voice of enchantment Gigi, a part of the percussion instrument, and a futuristic sound is repeated. The tune will progress before long attended with six rhythms attended with the rhythm of techno and Acid Jazz. Carl Craig that took charge of the program was matched to the concept of this album well.

Chaka Khan and Charnett Moffett participate in "The Essence". The combination by this musician might be splendid. As for the impression of the tune, Drum n 'Bass very refined is developed. The atmosphere of the tune multiuses Chord extremely seen in Jazz though scratch by the record has been introduced. The part of piano Solo in close relation to the line of Bass that Charnett Moffett performs gives the part of Jazz very much. The sensibility of Herbie Hancock appears everywhere though the flow and the composition will be targets in the future.

In "This Is Rob Swift", the sound of Turntable and the program is features. The theme of repeated keyboard city. The theme of the keyboard in close relation to Drum of Jack DeJohnette and the continuousness of scratch might contain an experimental part. However, there is not so much individuality in the tune. Solo might be loose a little more of the keyboard. Atmosphere keeps the state that always continues though it is decided.

The melody and the anacatesthesia are expressed well though "Black Gravity" is basically Drum n 'Bass. A variegated sound progresses and the tune progresses repeatedly. However, because the impression has been decided, it will be not so expansive. However, the sensibility of Herbie Hancock is expressed enough.

As for "Tony Williams", Herbie Hancock and Wayne Shorter affix the flavor to the part of the drum left in the past. Lyrics by the narration are a little moving. It dedicates it to Tony Williams well. However, because the concept of the album has been decided to some degree, the idea and the melody are insufficient. Only the performance of Tony Williams stands out. If the calculation and the idea were introduced further, it is likely to have become a moving tune. It is very regrettable.

"Ionosphere" has the atmosphere of complete techno and Drum n 'Bass. The rhythm will be a target in the future extremely though the melody has a gentle anacatesthesia. I do not feel individuality so much though a variegated sound is continuously given.

"Alphabata" is done by Trio of Laswell-Hancock-DeJohnette. Groove of powerful Drum gives the impression very refined. The anacatesthesia in close relation to a steady rhythm is splendid. The sound of a city and gentle keyboard excludes the sound of an extra decoration.

The feature in "Be Still" is to decide the melody. Obbligati that Wayne Shorter does. And, Groove that Jack DeJohnette does flows. Part of song with transparent feeling in close relation to it. However, Solo of Wayne Shorter has come off from the impression of the tune a little. The composition in which the decided theme is repeated doesn't have a little individuality either.

Acoustic respect exists together to digital respect in "Virtual Hornets". The music character of Weather Report and Miles Davis at latter term might be a little reminiscent as the impression. The quality of the performance is not bad. This tune will give the impression of the live performance. Solo of Bass of Charnett Moffett completely catches the tune. Atmosphere is valued. Solo of continuing Wayne Shorter is also glossy.

"Kebero Part 2" has succeeded the flow from Part 1. Part of repeated enchantment scat. And, the melody of the keyboard that is reminiscent of the atmosphere of Herbie Hancock in the 70's. The union of albums might give width by the existence of this 1 and 2.

The sensibility of Herbie Hancock and the revival of Bill Laswell were exactly reflected in this album. The development of the music character that Herbie Hancock thought about and the expression concerning flexibility might have united the situation in which it rushed into a new field in the age.