Herbie Hancock – Head Hunters (1973) [Japanese Reissue 2020]
SACD Rip | SACD ISO | DSD64 2.0 & DST64 4.0 > 1-bit/2.8224 MHz | 41:40 minutes | Scans included | 3,11 GB
or DSD64 4.0 Quadrophonic (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Scans included | 4,12 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Basic Scans included | 1,65 GB
or FLAC 2.0 Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Scans included | 925 MB
Features Stereo and Quadrophonic Surround Sound | Sony Japan # SICJ 10014
Sony Japan continues with their limited edition quad SACD series with one of the greatest masterpieces of the fusion jazz genre. The 1973 “Head Hunters” album from keyboardist Herbie Hancock gets a reissue in multi-channel surround. Not only is the packaging unique to other editions, for the first time, the actual 4 channel quad version of the album has been released in a digital format. This should not be confused with the SACD that was issued by Sony Japan back in 2008, a multi-channel version which was reconfigured from the four channel master tapes. Instead this newly remastered 2020 edition truly gives quadrophonic collectors the original mix on a great format, and directly takes fans back to the 70’s quad era.
After recording with Miles Davis over several years starting in 1963, Hancock’s solo career blossomed on the Blue Note label with his classic albums Maiden Voyage, Empyrean Isles, and Speak Like a Child. After leaving Miles Davis’s group, Hancock put together a new band called The Headhunters and, in 1973, recorded Head Hunters. This album became a pivotal point in his career, bringing him into the limelight of fusion jazz. Drawing heavily from Sly Stone, Curtis Mayfield and James Brown, Hancock developed a deep funky, texturally gritty rhythms over which he took liberties with electric synthesizer solos. Maintaining all of the sensibilities of jazz, particularly with his long improvisational solos, he firmly tied jazz to the rhythms of funk, soul, and R&B, in turn giving the album a mass appeal.
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Herbie Hancock – Head Hunters (1973) [APO Remaster 2016]
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 4.0 > 1-bit/2.8224 MHz | 41:33 minutes | Full Scans included | 2,93 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 41:53 mins | Scans included | 815 MB
Features Stereo and Quadrophonic surround sound
Head Hunters was a pivotal point in Herbie Hancock’s career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken). Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.
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Herbie Hancock – Flood (1975) [Japanese SACD Reissue 2007]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 74:14 minutes | Scans included | 3,06 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Scans included | 2,96 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,51 GB
Herbie Hancock and the Headhunters take to the road in the live double album Flood, recorded and released only in Japan. Contrary to the impression left by his American releases at this time, Hancock was still very much attached to the acoustic piano, as his erudite opening workout on “Maiden Voyage/Actual Proof” with his funk rhythm section makes clear. The electric keyboards, mostly Rhodes piano and clavinet, make their first appearances on side two, where Hancock now becomes more of a funky adjunct to the rhythm section, bumping along with a superb feeling for the groove while Bennie Maupin takes the high road above on a panoply of winds. Except for “Voyage,” the tunes come from the Head Hunters, Thrust, and Man-Child albums (another reason why this was not released in the U.S.). “Chameleon” comes with a lengthy outbreak of machine pink noise that attests to Hancock’s wide-eyed love of gadgetry. In all, this was a great funk band, not all that danceable because of the rapid complexities of Mike Clark’s drumming, and quite often, full of harmonic depth and adventure.
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Herbie Hancock, Michael Brecker, Roy Hargrove – Directions In Music: Live At Massey Hall (2002)
FLAC (tracks) 24 bit/192 kHz | Time – 01:18:27 minutes | 2,11 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Verve
A double-milestone year for jazz, 2001 marked the 75th anniversary of the births of both Miles Davis and John Coltrane. With that in mind, Herbie Hancock went on tour with a quintet modeled after his V.S.O.P. bands of the ’70s and ’80s and the Tribute to Miles band of the ’90s, which in turn were modeled after the 1965-1968 Miles Davis Quintet. The question this disc proposes: Can you go home yet again? Hancock preferred to dodge that one, saying that he was attempting to push the music onward in the Davis/Coltrane spirit of adventure rather than play for nostalgia. But essentially, despite the often unblinkingly hard-nosed soloing and the sometimes radical reworking of the old tunes, the conception of this idiom is that of Miles, and Michael Brecker’s often brilliant, searching tenor sax work owes its soul to the example of Trane. Although the quintet’s Los Angeles gig on October 11, 2001, was rather disappointing, the Toronto concert recorded here was a big improvement, with two weeks of roadwork evidently having the desired tightening effect. Though Hancock’s piano gradually became more abstract and disconnected with its surroundings over the years, here he is in touch with his colleagues. Brecker provides the most fervent individual statement with an unaccompanied rendition of “Naima” that amounts to a virtual encyclopedia of tenor saxophone technique. Roy Hargrove does a serviceable job on trumpet and flügelhorn, trying to fill some heavy shoes, and as accomplished as the rhythm team of John Patitucci (bass) and Brian Blade (drums) is, you miss the irreplaceable combustion of Ron Carter and especially the late Tony Williams (compare the original Davis recording of “The Sorcerer” with this inward, less dynamic, less driving version). The most strikingly reworked cover tune is a slow, drawn-out, mournful take on “Impressions,” almost an elegy for Coltrane, and Brecker delivers the eulogy with fire in the belly. There is new material from Hargrove (“The Poet”), Brecker (“D Trane”), and the three headliners (“Misstery”), none of which expands much beyond the parameters of the Davis and Coltrane models. While this quintet does not kick over old boundaries, it does make good, uncompromisingly intelligent music. –Richard S. Ginell, AllMusic
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Chick Corea, Herbie Hancock – An Evening with Herbie Hancock & Chick Corea: In Concert (1978/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:31:28 minutes | 1,56 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy
An Evening With Herbie Hancock & Chick Corea: In Concert is a live album featuring Herbie Hancock and Chick Corea playing only acoustic piano. Recorded over several live performances in February 1978, the album is an interesting departure from the jazz fusion which both keyboardists specialize in playing.
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Herbie Hancock, Ron Carter, Tony Williams – Herbie Hancock Trio with Ron Carter & Tony Williams (1982/2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 45:43 minutes | 461 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy
Herbie Hancock Trio was Herbie Hancock’s 31st album, the second album under the same title, released in 1982. Hancock was joined by bassist Ron Carter and drummer Tony Williams.
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Herbie Hancock – Village Life (1985/2008)
FLAC (tracks) 24 bit/96 kHz | Time – 40:39 minutes | 634 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia
This is one of the more unexpected releases in Herbie Hancock’s long and storied career. While Hancock has done just about everything, and has previously incorporated African influences in his early electric work (think Mwandishi and Crossings), no one anticipated this beautiful, moving work of Afro-Pop. Paired with kora master Foday Musa Suso, Hancock improvises with aplomb melding what was then state-of-the-art digital keyboard technology with traditional instrumentation and vocals.
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Herbie Hancock – V.S.O.P. (Live) (1997/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:27:41 minutes | 1,70 GB | Genre: Jazz, Funk
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy
V.S.O.P. is an April 1977 jazz-funk fusion live album by keyboard player Herbie Hancock featuring performances by the V.S.O.P. Quintet (Hancock, Freddie Hubbard, Wayne Shorter, Ron Carter and Tony Williams), the Mwandishi band with Eddie Henderson on two tracks, and The Headhunters featuring Bennie Maupin and Paul Jackson.
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Herbie Hancock – Thrust (1974/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 38:49 minutes | 798 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy
The follow-up to the breakthrough Headhunters album was virtually as good as its wildly successful predecessor: an earthy, funky, yet often harmonically and rhythmically sophisticated tour de force. There is only one change in the Headhunters lineup — swapping drummer Harvey Mason for Mike Clark — and the switch results in grooves that are even more complex. Hancock continues to reach into the rapidly changing high-tech world for new sounds, most notably the metallic sheen of the then-new ARP string synthesizer which was already becoming a staple item on pop and jazz-rock records. Again, there are only four long tracks, three of which (“Palm Grease,” “Actual Proof,” “Spank-A-Lee”) concentrate on the funk, with plenty of Hancock’s wah-wah clavinet, synthesizer textures and effects, and electric piano ruminations that still venture beyond the outer limits of post-bop. The change-of-pace is one of Hancock’s loveliest electric pieces, “Butterfly,” a match for any tune he’s written before or since, with shimmering synth textures and Bennie Maupin soaring on soprano (Hancock would re-record it 20 years later on Dis Is Da Drum, but this is the one to hear). This supertight jazz-funk quintet album still sounds invigorating a quarter of a century later.
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Herbie Hancock – The Prisoner (1969/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 41:16 minutes | 1,45 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
Originally released as Blue Note BST 84321
“In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you’ve set up your chaise lounge right in the middle of Rudy Van Gelder’s studio!” – Blue Note President, Don Was.
Herbie Hancock’s The Prisoner was one of his first records after leaving the Miles Davis quintet in 1968. The album was done in honor of Dr. Martin Luther King, a musical social statement focused around civil rights while exploring the vastness of the new jazz form known as post-bop. The recording features Garnett Brown on trombone, Joe Henderson on tenor saxophone and alto flute, Johnny Coles on flugelhorn, Buster Williams on bass, and Albert Heath on drums. Although post-bop wasn’t as conventional as jazz or bop, Hancock’s challenging compositions invite listeners into his world of simple melodies and emotionally austere music.
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Herbie Hancock – The Piano (1979/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 52:12 minutes | 757 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy
“The Piano” is the twenty-sixth album by Herbie Hancock. As with “Directstep” (recorded one week previously), this album was recorded, and originally only released, in Japan. It was one of Hancock’s most successful albums in Japan, perhaps because it was entirely solo piano. Hancock tackles Jazz standards such as “My Funny Valentine”, “On Green Dolphin Street” and “Some Day My Prince Will Come” while also composing/performing four original songs. This album was initially released exclusively in Japan and first issued there on CD in 1983. In 2004, over 25 years after its recording, the album was released with four additional alternate takes of the same session. It was the first and only (until 2014) of Hancock’s Japanese releases available internationally.
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Herbie Hancock – The Herbie Hancock Trio ’77 (1977/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 46:07 minutes | 950 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia
The first V.S.O.P. tour triggered a flood of recording activity in July 1977, but only a fraction of it was released in the U.S. This session, recorded in San Francisco just days before the Quintet concerts in Berkeley and San Diego, finds Herbie Hancock, Ron Carter, and Tony Williams mixing it up sans the horns — and the results are more reflective and cerebral than the full Quintet concerts. Hancock is thoroughly in control of the agenda while Williams throws in those meter-fracturing flurries that keep everyone on their toes. There is a startling re-interpretation of “Speak Like a Child,” which is significantly tougher and busier than the wistful Blue Note version, as well as challenging Hancock originals like “Watcha Waiting For” and “Watch It.” This is uncompromising acoustic jazz, commercial anathema in the electronic ’70s — and thus, only Japan got to hear it.
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Herbie Hancock – Takin’ Off (1962/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 39:04 minutes | 1,55 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
Cover art included, liner notes not included
Masterd by Bernie Grundman at Bernie Grundman Mastering.
At 21, Herbie Hancock was already a mature and well-traveled musician. He played Mozart with the Chicago Symphony at age 11, studied at Grinnell College and by age 20 played with Donald Byrd. Takin’ Off, his Blue Note debut, is a sophisticated showcase for Hancock’s ability as a group leader. Not as intellectually challenging or technically complex as his later recordings, the pianist nevertheless displays a restless imagination and technical verve. When he’s not striking off on funky, swinging solos, the backing chords are restrained an unassuming. He’s controlling the session and confident enough to let his soloists (Freddie Hubbard on trumpet and Dexter Gordon on tenor sax – both in fine, relaxed form) take the spotlight. From the now-legendary hit “Watermelon Man” to the reflective, noir-ish “Alone and I,” this is a great first album that foreshadows the greatness that would follow on his Blue Note masterworks, Empyrean Isles andMaiden Voyage.
Herbie Hancock – Sunlight (1978/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 39:31 minutes | 818 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia
Sunlight originated as a UK import album in 1978. The album is viewed as more funk than jazz and encounters the beginnings of Herbie’s electro-funk stage heard in some of his later albums. Sunlight features the UK single “I Thought It Was You.”
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Herbie Hancock – Speak Like A Child (1968/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 37:00 minutes | 1,24 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
Recorded March 6 (tracks 1-3) and March 9 (tracks 4-6), 1968 in Rudy Van Gelder Studio, Englewood Cliffs, NJ
Produced by Alfred Lion
Originally released as Blue Note BLP 4279 (mono) and BST 84279 (stereo)
“In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you’ve set up your chaise lounge right in the middle of Rudy Van Gelder’s studio!” – Blue Note President, Don Was.
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