SUNLIGHT

Exactly in the latter half of the 70's. Especially, in the world of Jazz/Fusion, time when this album was announced was time of the reformation and development. And, they also give the impression that faces some saturation. Herbie kept challenging music with an original angle at the time that digested the revolution by "Weather Report" and "Return To Forever" and shifted to the next stage. It ..original development.. carries out because he is "HeadHunters" and the fact that shows new directionality in Jazz/Fusion is certain. And, the route of Jazz by V.S.O.P. and the route of Funk have been established to Herbie at this time and the route of Funk has already been counted as one of the pronouns of him now. The companion since "HeadHunters" and musicians who can trust it are participating in the recording in this album. Wonderful of "Sing" is discovered and Herbie is put into practice actually with this album though Herbie progressed a more original route though it enters the 1980's. It has been proven by "VOCODER" (Voice+Encoder) introduced for his producing this album. It will be able to be said that the introduction of this machine parts was very reformative one for the music at this time. He is making remarks strengthening further by the establishment of the route of Jazz/Funk on the interest in "Song". This album is an album with which such a reformative creation and the line where they are supported splendidly harmonize. The taste of Herbie at the same time exceeds the taste of Funk and the fact that draws a peculiar color is ..goodness of the sense of Herbie really.. exhausted.

The 70s are coming to an end and with them came the decline of jazz-rock. There is no better (worse) example to illustrate this then Hancock's own Sunlight, a lame disco-soul album with little music and lots of aged jazzy pop. Well, look at the cover and you'll see what I mean.

The preceding electrical jazz-rock album Secrets already hinted at the direction Hancock would take, but here he lost what little edge remained in his music and the only thing remaining is run-of-the-mill end 70's disco-pop that, unfortunately, doesn't have any of the catchy hooks to make this type of music come alive.

At least this is the story of the first three tracks. The remaining two instrumental tracks don't seem to have much ado with what preceded. No Means Yes is a funk-jazz piece that would have fitted nicely on Man-Child or Secrets. It's hardly remarkable but ok. Good Question is an entirely different matter, it's a frantic and stunning piece of intense jazz-rock that sits very close to Magma's music on Attack. No funk or disco in sight and the dazzling acoustic piano and pulsating bass dominate this excellent track (that also features Tony Williams and Jaco Pastorius by the way).

If it wasn't for the closing track this would be a perfect candidate for just 1 star, but fans might still enjoy bits and pieces of it, making this a typical album to pick up from the library.

Admit it, you only looked at this album just to marvel at his wonderful afro.

It's ok to admit it. We all wish we were that awesome. Unfortunately, Herbie's twenty-second album doesn't really show it.

"I Thought It Was You" starts off in typical late 70's fashion with the side-steppin disco beats and cheesy vocoder-style vocals. Great tune to bust out the 70's blazer, but not in jazz standards. "Come Running To Me" sort of resembles the former, except it's in the style of a shuffling two-step, like you're on an island with the girl you love, or something.

"Sunlight" is a tuned down carbon-copy of "I Thought It Was You", but it's the later half the album that get's a bit interesting. "No Means Yes" is a bit of a mangled funk tune combined with what remains of Herb's jazzy roots, while "Good Question" is perhaps the best track on the album, possibly the jazziest of the entire album, yet you can still hear the total control of '80's technology creeping up on his music.

In all honesty, the last two tracks are the ones worth listening to, but when I got to get my groove on, a little disco doesn't hurt, and "I Thought It Was You" certainly gets the jitters out, so if you're thinking of adding this to your jazz collection, steer clear of this one

Now if you'll excuse me, I'm going to listen to Zappa's "Dancing Fool" and find my dancing shoes.