Herbie Hancock – Mwandishi: The Complete Warner Bros. Recordings (1994/2016) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/192kHz]

Herbie Hancock – Mwandishi: The Complete Warner Bros. Recordings (1994/2016)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 125:04 minutes | 4,93 GB
FLAC (tracks) 24 bit/192 kHz | Time – 125:04 minutes | 5,07 GB
Studio Master, Official Digital Download | Artwork: Front cover

This release includes Herbie Hancock’s music from 1969-1971 for the Warner Brothers label, released originally as three albums, one of Herbie Hancock’s most creative periods. The earliest album, Fat Albert Rotunda, features a fine sextet highlighted by tenor saxophonist Joe Henderson, like Hancock a master at maintaining strong rhythmic grooves while stretching outward. The later music, with a regularly working band, becomes increasingly expansive and exploratory. Like Miles Davis on Bitches Brew, Hancock was increasingly interested in layering rhythms and textures, emphasizing percussion, electric keyboards, and potent soloists, and broadening his palette of sounds to eventually include synthesizers. There are significant contributions from the inspiring drummer Billy Hart and some potent, if neglected, soloists in multireed player Bennie Maupin (also on Bitches Brew) and trombonist Julian Priester (a Sun Ra associate), who also provided the extended compositions “Water Torture” and “Wandering Spirit Song,” respectively. This is a sometimes overlooked period in Hancock’s music, bracketed by the quality of his earlier acoustic music, both with Davis and as a leader on Blue Note, and his later commercial success, but it’s some of his most innovative work.

None can argue that Herbie Hancock’s Blue Note recordings are mostly jazz milestones, the somewhat overlooked Warner Bros. period remains one of his most creatively adventurous, and enduring. The three albums presented here all offer different sides of Hancock after he left Miles Davis. All are presented here in their entirety, with copious notes by Bob Blumenthal, who interviewed Hancock for the package. The set begins with the wildly joyous, deep, funky groove of Fat Albert’s Groove, the music Hancock recorded for Bill Cosby’s Saturday morning cartoon show. These seven tracks, with their three-horn front line (originated for Hancock on his final Blue Note album, Speak Like a Child) of Joe Henderson on flute and tenor, Johnny Coles’ trumpet, and Garnett Brown’s trombone, are singing, lyrical funk grooves that predated Headhunters by a few years and swung way harder by sticking back and lying in the groove as much as possible. Hancock’s electric piano teamed with Tootie Heath and Buster Williams to form an unbeatable, gutsy, and stomping rhythm section. The band was fleshed out on a couple of tracks by additional horns, additional drums and percussion, and electric guitars. After such a melodic entry, Warners’ executives must have been shocked when Hancock brought them the abstract funkified impressionism of his emerging Mwandishi band on its selftitled offering. Comprised of three long tracks, the album showcased Hancock’s use of free jazz and long intervallic inventions on modal frames. Only Buster Williams remained from the previous set. The rest of the sextet includes Billy Hart, Eddie Henderson, Julian Priester, and Bennie Maupin. also This same band with the addition of a few sidemen recorded the Crossings with the addition of synthesizer player Patrick Gleeson. This final record sank from the market like a stone; it found some success a year later, after Hancock had moved to Columbia, to issue Sextant and then Headhunters. Crossings melds street music, modal jazz and the expansive sonic approach of Sun Ra fom this same period; it’s approach keeps jazz close to the street while fully exploring the varying tonal and rhythmic changes that were going on post-Coltrane. Again, only three tracks appear, though the first is a long, brazen expressionistic suite (“Sleeping Giant”). The musical evolution present in this double set reveals the composer, arranger, and pianist as a large scale visionary.

Tracklist:

01 – Wiggle Waggle
02 – Fat Mama
03 – Tell Me A Bedtime Story
04 – Oh! Oh! Here He Comes
05 – Jessica
06 – Fat Albert Rotunda
07 – Lil’ Brother
08 – Ostinato (Suite For Angela)
09 – You’ll Know When You Get There
10 – Wandering Spirit Song
11 – Sleeping Giant
12 – Quasar
13 – Water Torture

Produced by David Rubinson.
Recorded in December 1970 at Wally Heider Recording Studio C, San Francisco, CA.
Digitally remastered.

Musicians:
Herbie Hancock – Fender Rhodes piano
Eddie Henderson – trumpet, flugelhorn
Bennie Maupin – bass clarinet, alto flute, piccolo
Julian Priester – tenor trombone, bass trombone
Buster Williams – bass
Billy Hart – drums
Additional musicians:
Ronnie Montrose – guitar on ‘Ostinato (Suite For Angela)’
Leon ‘Ndugu’ Chancler – drums, percussion
José ‘Chepito’ Areas – congas, timbales on ‘Ostinato (Suite For Angela)’

DSF DSD64

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HDTracks 24-192

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