Opening with the Head Hunters version of "Watermelon Man" and closing with the electro-embracing crossover hit, "Rockit," Mr. Funk is a semi-random skip across Hancock's Columbia recordings, and it technically spans 1973-1983 (at least going by release dates), rather than the 1972-1988 range printed on its cover.
Reissue with latest DSD remastering. Comes with liner notes. This is a unique experiment in the Hancock discography, recorded in Tokyo in just one day during a tour of Japan. The first side contains two introspective, complex solo acoustic piano tracks, "Maiden Voyage" and "Dolphin Dance," which are notable since they date from a period when Hancock was supposedly totally immersed in electronics. Side two has two even more unusual pieces – "Nobu," a one-man show recorded in real time with the sample-and-hold feature of an ARP 2600 synthesizer providing a rhythm section for Hancock's electric keyboards, followed by "Cantaloupe Island" with a pre-recorded synth bassline.
One of Herbie Hancock's greatest attributes is his ability to take a contemporary form of music and add his own unique perspective through his recordings. Future 2 Future is no exception to the rule. Teaming with Bill Laswell, Hancock recruits some of the most forward-thinking musicians in music for Future 2 Future. The contributions of electronic music pioneer Carl Craig, vocal diva Chaka Khan, drum'n'bass producer A Guy Called Gerald, as well as jazz legends Jack DeJohnette and Wayne Shorter make the album feel like a cross between modern electronica and world music.
Feets, Don't Fail Me Now is the twenty-seventh album by pianist Herbie Hancock. Beautifull Rhodes pianos and sinths,extremely funky! One of the few albums in wich herbie sings (w/ vocoder always)also one of the best records for the jazz-challenged to get into easily.
Since Chick Corea and Herbie Hancock had by 1978 spent several years mostly playing electric keyboards, their acoustic duet tour surprised many listeners who thought that they would always specialize in fusion. This double album contains many fine performances including lengthy versions of "Maiden Voyage" and "La Fiesta" but it is the striding by Corea and Hancock on "Liza" that is most unique.
Having long since established his funk credentials, Herbie Hancock continues the direction of Head Hunters and its U.S. successors here, welding himself to the groove on electric keyboards while Bennie Maupin again shines sardonic beams of light on a variety of reeds. In "Doin' It," the most successful track, Hancock makes a more overt bid for the dancefloor, for the tune is basically one long irresistible groove with a very commercial-sounding bridge.
Beyond category or idiom, audacious in its very idea, Herbie Hancock and Wayne Shorter perform a little over an hour of spontaneous improvised duets for grand piano and soprano sax. That's all no synthesizers, no rhythm sections, just wistful, introspective, elevated musings between two erudite old friends that must have made the accountants at PolyGram reach for their Mylanta. Hancock's piano is long on complex harmonies of the most cerebral sort, occasionally breaking out into a few agitated passages of dissonance. His technique in great shape, Shorter responds with long-limbed melodies, darting responses to Hancock's lashings, and occasional painful outcries of emotion.
This disc is a bit unusual in a few ways. Vibraphonist Dave Pike sticks here exclusively to the marimba, while pianist Herbie Hancock is heard throughout on organ, an instrument he rarely played again. The band also includes two trumpeters (most notably Clark Terry who has a few short solos) and a rhythm section with guitarist Billy Butler. Most of the music consists of obscurities and is open to the influences of the boogaloo and pop rhythms of the era; highlights include Hancock's "Blind Man, Blind Man," "Sunny" and "Devilette." An interesting effort.
Mirroring his onetime boss and mentor Miles Davis' own protean output, Herbie Hancock has explored hard bop, soul-jazz, fusion, funk-rock, soundtracks, hip-hop-inflected pop ("Rockit"), and many permutations in between. His early work for Blue Note, though, offers the best entrée for newcomers. Compiled from five of his albums for the label and covering a period from 1962-1968, this fine sampler includes highlights from his debut, Takin' Off ("Watermelon Man"), the classic Maiden Voyage (the title track and "Dolphin Dance"), and the early electric album Speak Like a Child (the title track and "Riot"). Add to this more indelible cuts like "Cantaloupe Island" and "One Finger Snap," not to mention the presence of numerous '60s jazz luminaries (Dexter Gordon, Freddie Hubbard, Thad Jones, Hank Mobley, Billy Higgins, et al.), and you have perfect way to get a taste of some of the best modern jazz committed to wax.