In the grand tradition of sequels, Sound-System picks up from where Future Shock left off – if anything, even louder and more bleakly industrial than before (indeed, "Hardrock" is "Rockit" with a heavier rock edge). Yet Hancock's experiments with techno-pop were leading him in the general direction of Africa, explicitly so with the addition of the Gambian multi-instrumentalist Foday Musa Suso on half of the tracks. "Junku," written for the 1984 Olympic Games with Suso's electrified kora in the lead, is the transition track that stands halfway between "Rockit" and Hancock's mid-'80s Afro-jazz fusions. Also, "Karabali" features an old cohort, the squealing Wayne Shorter on soprano sax. Despite succumbing a bit to the overwhelming demand for more "Rockits," Hancock's electric music still retained its adventurous edge.
During the three years that he recorded for Verve, flutist Herbie Mann's playing changed from straight bop to incorporating elements of Latin, African and South American music. This CD reissues all of the music from one former LP (Flautista) and several of the selections from two others (The Magic Flute of Herbie Mann and Herbie Mann's Cuban Band). Whether it be with a standard quartet, backed by a string section, jamming with a sextet that includes two percussionists or interacting with a brass section, the flutist is heard in explorative form, satisfying his fertile musical curiosity; he even plays bass clarinet and piccolo on one song apiece. Highlights of this excellent overview of Mann's Verve period include "Baia," "Oodles of Noodles" (Jimmy Dorsey's theme song "Contrasts"), "The Peanut Vendor," "Cuban Patato Chip" and "Caravan."
In 2001, Collectables released Live at the Whisky A Go Go/Mississippi Gambler, which combined a pair of original Atlantic LPs – Live at the Whisky A Go Go (1968) and Mississippi Gambler (1972) – by Herbie Mann on one compact disc.
This odd anthology from Atlantic reissues selections from trio dates recorded during the 1960s by Keith Jarrett, Chick Corea, and Herbie Hancock, along with otherwise unobtainable early recordings by McCoy Tyner. Jarrett is joined by Charlie Haden and Paul Motian on two originals, both of which show the obvious influence of Bill Evans. Chick Corea is accompanied by Steve Swallow (on acoustic bass rather than the electric bass he switched to a short time later) and Joe Chambers. The pianist's "Tones for Joan's Bones" is swinging, but not nearly as driving as his works in the decades to follow, while his reworking of the show tune "This Is New" features Joe Farrell and Woody Shaw; both tracks also show the influence of Bill Evans.
By 1978, Hancock had another identity as a dance/fusion attraction with the albums Feets Don't Fail Me Now and Sunlight. Lite Me Up is an even more concerted effort to fuse jazz with pop. Hancock handled all of the production chores on all but two of the eight tracks…