"Possibilities" is an intimate documentary about Herbie Hancock and his in-studio collaborations with a dozen formidable pop recording artists, collaborations that explore the unexpected, like jazz improvisations. The film is also about how Herbie's unique world view shapes a creative environment that encourages artists to step outside the velvet prison of easy expectations. "The hip stuff," Herbie tells Trey Anastasio, in a scene from the film, "is outside the comfort zone." "Possibilities" follows Herbie over a year and a half collaborating with musical icons Carlos Santana, Sting, Angelique Kidjo, Annie Lennox and Paul Simon, young superstars Christina Aguilera, John Mayer, Trey Anastasio and Jonny Lang and newcomers Joss Stone, Raul Midon, Damien Rice and Lisa Hannigan. The film also puts Herbie's latest work in the context of his extraordinary musical career, and includes rarely seen archival footage of Herbie with the Miles Davis Quintet in 1962; Herbie leading his Headhunters.
"Possibilities" is an intimate documentary about Herbie Hancock and his in-studio collaborations with a dozen formidable pop recording artists, collaborations that explore the unexpected, like jazz improvisations. The film is also about how Herbie's unique world view shapes a creative environment that encourages artists to step outside the velvet prison of easy expectations. "The hip stuff," Herbie tells Trey Anastasio, in a scene from the film, "is outside the comfort zone."
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.
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."
Herbie Hancock completely overhauled his sound and conquered MTV with his most radical step forward since the sextet days. He brought in Bill Laswell of Material as producer, along with Grand Mixer D.ST on turntables — and the immediate result was “Rockit,” which makes quite a post-industrial metallic racket. Frankly, the whole record is an enigma; for all of its dehumanized, mechanized textures and rigid rhythms, it has a vitality and sense of humor that make it difficult to turn off. Moreover, Herbie can’t help but inject a subversive funk element when he comps along to the techno beat — and yes, some real, honest-to-goodness jazz licks on a grand piano show up in the middle of “Auto Drive.
Gathered here for the first time are all of the recordings Herbie Hancock (b. 1940) made for Columbia Records U.S. and CBS/Sony Records Japan between 1972 and 1988–a stunningly creative, 17-year period, yielding 31 albums. Eight of the titles in this set have never been released outside of Japan. This collection of 34 newly-remastered CDs showcases Herbie's virtuosity in a dazzling display of musical styles. It is a testament to his fearlessness, innovation, and ever-evolving curiosity, as well as his significant commercial success–the platinum certifications of Head Hunters and Future Shock.