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.
For over two decades, the Hi-Hat Club occupied a choice location among the jazz clubs of Boston’s South End district, at the corner of Columbus and Massachusetts Avenue. After the end of World War II, lesser luminaries took over the band-stand, and after a while entertainment practically stopped altogether. Dave Coleman, a jazz promoter, had taken over management of the club in 1949. Through Coleman’s personal initiative, the Hi-Hat enjoyed its most successful years, and by 1951 it was the only club featuring a consistent policy of presenting modern jazz.
Features 24 bit remastering and comes with a mini-description. Explosion! The Sound of Slide Hampton is an album by American jazz trombonist, composer and arranger Slide Hampton which was released on the Atlantic label in 1962. Big band noise from the daddy of the Trombone. While not likely to launch another swing revival, this CD is a welcome reissue to an artist deserving of more attention. The last swing craze was fueled by the sheer joy and enthusiasm that good big band music can inspire; Hampton’s recordings are no exception. If Brian Setzer ever needs some inspiration, he would be wise to check out these recordings.
Herbie Hancock's second album released under this title, 1982's The Herbie Hancock Trio features the pianist backed by his fellow former Miles Davis alum, bassist Ron Carter and drummer Tony Williams. As with the trio's 1977 debut, the 1982 outing finds the group reuniting for a set of standards and originals. This is swinging, sophisticated jazz done in a straight-ahead style. Recorded at CBS/Sony Shinanomachi Studio, Tokyo, Japan on July 27, 1981 by Sony PCM-1600 Digital Recording System.
Centered around some soundtrack music that Herbie Hancock wrote for Bill Cosby's Fat Albert cartoon show, Fat Albert Rotunda was Hancock's first full-fledged venture into jazz-funk and his last until Head Hunters making it a prophetic release. At the same time, it was far different in sound from his later funk ventures, concentrating on a romping, late-'60s-vintage R&B-oriented sound. with frequent horn riffs and great rhythmic comping and complex solos from Hancock's Fender Rhodes electric piano. The syllables of the titles alone "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" have a rhythm and feeling that tell you exactly how this music saunters and swaggers along just like the jolly cartoon character. But there is more to this record than fatback funk. There is the haunting, harmonically sophisticated "Tell Me a Bedtime Story" (which ought to become a jazz standard), and the similarly relaxed "Jessica."