 Artist: Herbie Hancock: mp3 download Genre(s): funk Jazz Jazz: Acid Jazz Other R&B: Soul Discography:  The Jewel in the Lotus Year: 2007 Tracks: 8  The Finest In Jazz Year: 2007 Tracks: 6  Possibilities Year: 2005 Tracks: 10  The Definitive Year: 2001 Tracks: 9  Lite Me Up Year: 2001 Tracks: 8  Future 2 Future Year: 2001 Tracks: 11  The Herbie Hancock Trio Year: 2000 Tracks: 5  Ken Burns Jazz Series: Herbie Hancock Year: 2000 Tracks: 9  Sound System Year: 1999 Tracks: 6  Town Hall Concert Year: 1998 Tracks: 5  Thrust Year: 1998 Tracks: 4  The Complete Blue Note Sixties Sessions (cd6) Year: 1998 Tracks: 8  The Complete Blue Note Sixties Sessions (cd5) Year: 1998 Tracks: 9  The Complete Blue Note Sixties Sessions (cd4) Year: 1998 Tracks: 8  The Complete Blue Note Sixties Sessions (cd3) Year: 1998 Tracks: 9  The Complete Blue Note Sixties Sessions (cd2) Year: 1998 Tracks: 9  The Complete Blue Note Sixties Sessions (cd1) Year: 1998 Tracks: 11  Magic Windows Year: 1997 Tracks: 6  New Standard Year: 1996 Tracks: 11  The New Standard Year: 1995 Tracks: 11  Cantaloupe Island Year: 1995 Tracks: 6  Dis Is Da Drum Year: 1994 Tracks: 11  Maiden Voyage Year: 1990 Tracks: 5  Mr. Hands Year: 1980 Tracks: 6  Monster Year: 1980 Tracks: 6  An Evening With Herbie Hancock and Chick Corea Year: 1978 Tracks: 6  Man-Child Year: 1975 Tracks: 6  Flood Year: 1975 Tracks: 7  Head Hunters Year: 1973 Tracks: 4  Sextant Year: 1972 Tracks: 3  Crossings Year: 1972 Tracks: 3  Empyrean Isles Year: 1964 Tracks: 4  Out of this world Year: 1961 Tracks: 7  The Egg Year: Tracks: 6  Secrets Year: Tracks: 7  Feets Don't Fail Me Now Year: Tracks: 6 Herbie Hancock will invariably be one of the well-nigh venerable and controversial figures in jazz -- simply as his employer/mentor Miles Davis was when he was alive. Unlike Miles, wHO pressed in the lead unrelentingly and never looked back until near the very conclusion, Hancock has cut a zigzagging stem itinerary, shuttling 'tween near every development in electronic and acoustic nothingness and R&B all over the last third of the 20th century. Though grounded in Bill Evans and able to take in blues, blue funk, gospel, and even new classical influences, Hancock's pianoforte and keyboard voices ar alone his possess, with their own urbane harmonic and complex, earthy rhythmic signatures -- and pres Young pianists glom his licks perpetually. Having studied applied scientific discipline and profession to love gadgets and buttons, Hancock was dead suited for the electronic eld; he was one of the earlier champions of the Rhodes electric piano and Hohner clavinet and would line of business an ever-growing aggregation of synthesizers and computers on his galvanic dates. Yet his love for the magisterial forte-piano never waned, and scorn his peripatetic activities all around the musical map, his pianissimo style continues to develop into tougher, ever-more-complex forms. He is as much at dwelling trading riffs with a smoke funk ring as he is communing with a world-class post-bop regular return section -- and that drives purists on both sides of the fence up the bulwark. Having taken up the pianissimo at age seven-spot, Hancock chop-chop became known as a prodigy, soloing in the low movement of a Mozart forte-piano concerto with the Chicago Symphony at the age of 11. After studies at Grinnell College, Hancock was invited by Donald Byrd in 1961 to get together his group in New York City, and before long, Blue Note offered him a solo sign on. His debut album, Takin' Off, took off indeed later on Mongo Santamaria covered one of the album's songs, "Citrullus vulgaris Man." In May 1963, Miles Davis asked him to join his band in time for the Seven Steps to Heaven roger Huntington Sessions, and he remained in that location for five-spot years, greatly influencing Miles' evolving direction, slackening up his own style, and upon Miles' proffer, converting to the Rhodes electric forte-piano. In that time span, Hancock's solo vocation as well blossomed on Blue Note, pouring forth increasingly sophisticated compositions like "Maiden Voyage," "Cantaloupe Island," "Bye to Childhood," and the recherche "Speak Like a Child." He besides played on many East Coast transcription roger Huntington Sessions for producer Creed Taylor and provided a groundbreaking ceremony score to Michelangelo Antonioni's photographic film Blow Up, which step by step light-emitting diode to farther film assignments. Having left the Davis circle in 1968, Hancock recorded an elegant funk album, Fat Albert Rotunda, and in 1969 formed a sestet that evolved into one of the nigh exciting, forward-looking jazz-rock groups of the geological era. Now deep immersed in electronics, Hancock added the synthesiser of Patrick Gleeson to his Echoplexed, fuzz-wah-pedaled electric forte-piano and clavinet, and the recordings became spacier and more complex rhythmically and structurally, creating its have corner of the avant-garde. By 1970, all of the musicians used both English and African names (Herbie's was Mwandishi). Alas, Hancock had to break up the band in 1973 when it ran out of money, and having studied Buddhism, he terminated that his ultimate finish should be to make his audiences happy. The succeeding pace, so, was a terrific blue funk group whose first album, Straits Hunters, with its Sly Stone-influenced hit unmarried, "Chameleon," became the biggest-selling jazz LP up to that time. Now manipulation all of the synthesizers himself, Hancock's heavily rhythmical comping often became part of the rhythm section, leavened by interludes of the old polished harmonies. Hancock recorded several galvanizing albums of generally superior timber in the '70s, followed by a wrong turn into disco around the decade's end. In the meantime, Hancock refused to abandon acoustic jazz. After a one shot reunion of the 1965 Miles Davis Quintet (John Hancock, Ron Carter, Tony Williams, Wayne Shorter, with Freddie Hubbard sitting in for Miles) at New York's 1976 Newport Jazz Festival, they went on spell the following year as V.S.O.P. The near-universal clap of the reunions proved: that Hancock was still a giant of a pianist; that Miles' loose mid-'60s post-bop direction was far from worn-out; and that the time for a neo-traditional revitalization was nigh, eventually bearing fruit in the '80s with Wynton Marsalis and his ilk. V.S.O.P. continued to go for sporadic reunions through 1992, though the death of the indispensable Williams in 1997 roam a good deal doubtfulness as to whether these gatherings would go on. Hancock continued his chameleonic shipway in the '80s: marking an MTV hit in 1983 with the scratch-driven, proto-industrial unmarried "Rockit" (accompanied by a hitting video); launch an exciting partnership with Gambian kora virtuoso Foday Musa Suso that culminated in the vacillation 1986 live album Jazz Africa; doing photographic film scores; and playacting festivals and tours with the Marsalis brothers, George Benson, Michael Brecker, and many others. After his 1988 techno-pop album, Perfect Machine, Hancock left Columbia (his label since 1973), signed a contract with Qwest that came to virtually zippo (write for A Tribute to Miles in 1992), and in conclusion made a trade with PolyGram in 1994 to record jazz for Verve and release pop albums on Mercury. Well into a youthful middle years, Hancock's curiosity, versatility, and capacity for maturation showed no signs of attenuation, and in 1998 he issued Gershwin's World. His curiosity with the optical fusion of electronic music and malarky continued with 2001's Future 2 Future, but he too continued to explore the future of straight-ahead contemporary jazz with 2005's Possibilities. An intiguing album of jazz treatments of Joni Mitchell compositions, called River: The Joni Letters, was released in 2007. |
Pinback nails down 'Autumn' trek
