Archive for the ‘Herbie Hancock’ Category
Eric Dolphy – The Illinois Concert (1963 – Blue Note)
Eric Dolphy is now recognized as an innovative genius, but in the ’60s he was ignored by the public and derided by critics and many of his peers. Originally influenced by Charlie Parker, Dolphy was a master alto saxophonist/flautist and was one of a handful of musicians who utilized the bass clarinet in a jazz setting. The Illinois Concert was taped at the University of Illinois in 1963 and represents a major addition to the Dolphy discography. The rhythm section, a young Herbie Hancock (piano), Eddie Khan (bass), J.S. Moses (drums), is augmented by the University of Illinois Brass Ensemble on Red Planet and G.W. Dolphy’s splendid improvisations deftly straddle the line separating hard bop and free jazz; alternating between melodious sweetness and harsh intensity. The highlight of the set is Dolphy’s unaccompanied bass clarinet tour de force, God Bless The Child. Except for his under-miked flute on South Street Exit (which fails to detract from Dolphy’s brilliant solo) the sound is very good. Kudos to Blue Note for unearthing this long-buried treasure
All About jazz (John Sharpe)
1. Softly as in a Morning Sunrise
2. Something Sweet, Something Tender
3. God Bless The Child
4. South Street Exit
5. Iron Man
6. Red Planet
7. G.W.
Personnel:
Eric Dolphy (flute, bass clarinet, Alto Sax)
Eddie Khan (bass)
Herbie Hancock (piano)
J.C. Moses (drums)
Vince Johnson, Kim Richmond (reeds)
Bruce Scafe, Dick Montz, Larry Franklin (trumpet)
Jon English , Bob Edmondson (trombone);
Aaron Johnson (tuba)
Ralph Woodward, Cecil Bridgewater (brass)
But at Amazon
Listen for Once, Delete, then Buy: Download
Miles Davis: Miles in Tokyo (1964 – Label: Sony)
Recorded in ’64, Miles in Tokyo finds the iconic Miles Davis performing with his almost-second great quintet. Tenor saxophonist Sam Rivers, a more accomplished and daring experimentalist than his predecessor, George Coleman, joined the group after a fellow Bostonian, drummer Tony Williams, recommended him to Davis. There are times on this recording when one might understand why Davis and Rivers never meshed, and times when the partnership is quite wonderful, though brief.
On “If I Were a Bell,” for example, after a lucid and melodic statement by Davis, Rivers purposely goes off-center on his solo. He does it with enough force that his motions are neither subtle nor nuanced; they’re noticeable. Yet on the more forlorn and dark “My Funny Valentine,” he shows greater care to stay within the song’s melody, a treatment that resonates well with the rest of the group.
“So What” is taken at a faster pace than the version on the seminal Kind of Blue with, again, Davis and Rivers varying in their melodic approaches. By “Walkin’,” though, it is Davis who alters his style, accepting some restless elements into his approach. He flies fast and furiously through his solo, provoking Williams into some manic beats. Williams, for his part, always sounded best in contexts that were more “out” than “in,” and the inclusion of Rivers on this date certainly allowed him greater, rhythmic latitudes. Herbie Hancock, as well, finds some dissonant and interesting moments on “Walkin’.” The finale, “All of You,” finds Davis muted and lyrical, Rivers wild but compliant, and the rest of the group providing a wonderful groove.
Months after this concert in September of ’64, the definitive version of the second great quintet, with Wayne Shorter on tenor, finally took form. The almost-second great quintet heard on Miles in Tokyo is an aberration, a rare gem, and worth investigating.
All About Jazz (Germein Linares )
2. If I Were A Bell
3. My Funny Valentine
4. So What
6. All of You
7. Go-Go (Theme And Announcement)
Miles Davis (tpt);
Sam Rivers (ts);
Herbie Hancock (p);
Ron Carter (b);
Tony Williams (d)
Recorded live at Kohseinenkin Hall,Tokyo, Japan on July 14, 1964 – Label: SONY
Buy at Amazon
Listen for Once, Delete, then Buy (Flac) : Part1 Part2 Scans
Bob Brookmeyer – Bob Brookmeyer & Friends (1964)
Look at the line-up, then listen to this album and cogitate. How a record featuring all those great musicians should sound? Great, no doubt. Remarkably, Brookmeyer and Getz do the mathematical cool jazz thing way too often, sounding like perfect anachronisms in 1964 and demonstrating that they spent too much time in the vicinity of Gerry Mulligan. Gary Burton, Herbie Hancock & Elvin Jones are of no less brightness. Yet, though a certain prettiness of some of the tunes rescue the album from failing completely, it is certainly a far cry from what the illustrious names on the cover promise. Anyway, the sound is there, get close to it and decide yourself.
Personnel: