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.
First official release on CD of The Complete GO Sessions. Long awaited reissue of three legendary albums recorded by famed Japanese percussionist/composer STOMU YAMASHTA with a stellar cast of English, European and American musicians – a true East meets West collaboration of tremendous scope.
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.
Stanley Clarke stretches his muscles and comes up with a mostly impressive, polystylistic, star-studded double album (now on one CD) that gravitates ever closer to the R&B mainstream. Clarke's writing remains strong and his tastes remain unpredictable, veering into rock, electronic music, acoustic jazz, even reggae in tandem with British rocker Jeff Beck. Clarke's excursion into disco, "Just a Feeling," is surprisingly and infectiously successful, thanks to a good bridge and George Duke's galvanizingly funky work on the Yamaha electric grand piano (his finest moment with Clarke by far). The brief "Blues for Mingus," a wry salute from one master bassist to another (Mingus died about six months before this album's release), is a cool acoustic breather for piano trio, and the eloquent Stan Getz can be detected, though nearly buried under the garish vocals and rock-style mix, on "The Streets of Philadelphia."