|
|
viewing 1 To 14 of 14 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
DOL 882HG-LP
|
Reissue, originally released in 1962. 180 gram vinyl. "Herbie Hancock's debut as a leader, Takin' Off, revealed a composer and pianist able to balance sophistication and accessibility, somewhat in the vein of Blue Note's prototype hard bopper Horace Silver. Yet while Hancock could be just as funky and blues-rooted as Silver, their overall styles diverged in several ways: Hancock was lighter and more cerebral, a bit more adventurous in his harmonies, and more apt to break his solos out of a groove (instead of using them to create one). So even if, in retrospect, Takin' Off is among Hancock's most conventional albums, it shows a young stylist already strikingly mature for his age, and one who can interpret established forms with spirit and imagination. Case in point: the simple, catchy 'Watermelon Man,' which became a Hancock signature tune and a jazz standard in the wake of a hit cover by Latin jazz star Mongo Santamaria. Hancock's original version is classic Blue Note hard bop: spare, funky piano riffing and tight, focused solo statements. The other compositions are memorable and well-constructed too (if not quite hit material); all have their moments, but particular highlights include the ruminative ballad 'Alone and I,' the minor-key 'The Maze' (which features a little bit of free improvisation in the rhythm section), and the bluesy 'Empty Pockets.' The backing group includes then up-and-coming trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. All in all, Takin' Off is an exceptional first effort, laying the groundwork for Hancock to begin pushing the boundaries of hard bop on his next several records." --Steve Huey, AllMusic
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FS 4469LP
|
Reissue of Empyrean Isles a classic Herbie Hancock album from 1964. From soul-jazz cuts to avant-garde explorations, Empyrean Isles revealed that Herbie Hancock was a jazz icon in the making. Clear vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GET 51342LP
|
2021 repress. "Vinyl previously issued only in Japan. For Black Friday, Get On Down offers a complete replica of the Japanese release including a full color insert and deluxe obi strip. This 1977 studio recording finds Herbie Hancock embracing his jazz roots. The straight forward trio setting puts Hancock's piano front and center. Backed by Ron Carter on bass and Tony Williams behind the drums, the recording features Hancock originals as well as the Trio's take on Miles Davis' Milestones. Though recorded at fabled San Francisco studio The Automatt, the recording was only immediately issued in Japan. To this day, Japan is the only country to see a vinyl release of the session. That changes on Black Friday as Get On Down presents The Herbie Hancock Trio."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
GET 51446LP
|
Red vinyl. "This double live outing from Herbie Hancock was recorded in Tokyo in July of 1975. Backed up by The Headhunters, Hancock runs through selections from his albums Head Hunters, Thrust and Man-Child -- that last project still being months away from release at the time of this recording. Get On Down's reissue of the vinyl will be the first US release for the double LP, ever."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GET 51332LP
|
RSD Black Friday 2019 release. "Throughout the mid-to-late 1970s, legendary jazz pianist and composer Herbie Hancock engaged in a prolonged period of experimentation across sounds and recording formats, over the course of several CBS/Sony albums, made only available in Japan. 1979's Directstep was one such album, one that made use of a new form of recording technology called 'Direct-To-Disc.' This method recorded masters in real time to acetate discs, rendering incredibly high fidelity LP pressings, but sacrificing the ability to edit or overdub. A distinct challenge, but one that Hancock accepted, entering Tokyo's CBS/Sony Studios in mid-October of 1978 with a stacked backing band including session veterans Bennie Maupin on saxophone, Ray Obiedo on guitar, Webster Lewis on keys and synths, Paul Jackson on bass, Alphonse Mouzon on drums, and Bill Summers on percussion. This group of seasoned pros were intent on having a record in one take. Directstep marked a lot of firsts for Hancock, chief among them was that it was one of his earliest recordings to feature a second synthesizer player (Webster Lewis), which was necessary to produce the electronic textures he'd been previously experimenting with on albums like 1974's Dedication. It was also the first one in Hancock's catalogue to make extensive use of the Sennheiser Vocoder, which would become a key part of his arsenal during his electro-funk period during the 1980s. The album also stands out as one of the earliest analog recordings to be converted into digital format and released on compact disc. Beyond all the technological achievements on Directstep though, is simply an incredibly solid collection of Herbie Hancock material, mid-transition between his success with jazz-funk fusion into his electronic-focused period. It features stirring remakes of Hancock staples 'Butterfly' and 'I Thought It Was You', as well as brand new track 'Shiftless Shuffle', incorporating brand new electronic instrument technology such as the electronic wind instrument the Lyricon, the freshly released Propet-5 synthesizer, and of course the aforementioned Sennheiser Vocoder. Get On Down is proud to present this reissue of Directstep, a gem of jazz-fusion, available on vinyl for Black Friday Record Store Day for the first time in 30 years!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82126LP
|
Takin' Off, Herbie Hancock's stunning debut album was released by Blue Note in 1962. Hancock's modern and dynamic form of jazz takes off from here, with the young pianist leading a marvelous quintet including Freddie Hubbard on trumpet, Dexter Gordon on tenor sax, Butch Warren on double bass, and Billy Higgins on drums. The album contains "Watermelon Man," Hancock's first big hit, well-known as a classic standard in the history of jazz and popular music. In one word: essential!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GET 51282LP
|
RSD 2019 release. "Never before released on vinyl outside of japan. Packaged with a full-color obi-strip. Dedication by Herbie Hancock is an anomalous entry in the discography of the revered jazz-fusion keyboardist. The album was recorded over the course of a single day, in the middle of a tour of Japan at Koseinekin Hall in Tokyo, and for years would be available exclusively in Japan. Produced a month ahead of his 1974 studio album Thrust, the follow-up to his career-defining album Head Hunters, Dedication's tracks were noteworthy for how drastically different they were from the material that followed. Gone was the dangerously funked-out rhythm section goodness of the Headhunters; instead Hancock is alone, performing four solo pieces on grand piano, electric keys, and synthesizer. Side one features Hancock at his most introspective, featuring romantic, ballad-like takes on two of his 60s pieces: 'Maiden Voyage', and 'Dolphin Dance.' Side two, on the other hand, is almost a polar opposite, utilizing early techno rhythms through Fender Rhodes electric keyboards, and the sample-and-hold features of the ARP 2600 synthesizer, rendering spacey, exploratory jams such as the original track 'Nobu', and an electro-funky take on 'Cantaloupe Island'. (Two tracks which predicted Hancock's eventual electro-funk dominance in the 1980s.) A unique and momentous obscurity of Herbie Hancock's catalog, Dedication has never seen a vinyl release outside of Japan prior to now. Nearly 30 years later, Get On Down has sought to allay that, with a premium-grade Record Store Day reissue worthy of any jazz collector's archives, or any crate digger's armament."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ASH 303LP
|
2021 repress. "Crossings was the second release by the Herbie Hancock Sextet lineup known as the Mwandishi Band, following 1971's Mwandishi which stretched Hancock's already-adventurous writing and expanded the music through post-production. This approach would play an even larger role on Crossings, the pianist's final album for Warner Bros. For two of Crossings' three pieces ('Quasar' and 'Water Torture'), Hancock took basic instrumental tracks to Patrick Gleeson's Different Fur Studios, hoping to learn how to play the Moog synthesizer. Instead, Hancock let Gleeson contribute layers of sound to both pieces. On 'Quasar,' a ballad in 7/4 time, Gleeson extends the horn playing of Bennie Maupin, Julian Priester and Eddie Henderson through electronic accents, while on 'Water Torture,' he provides a ghostly counter melody on the Mellotron, a keyboard that utilizes samples from string instruments. These studio enhancements give Crossings an otherworldly dimension, making the album feel bigger and more fantastical, yet the Sextet's playing -- recorded without much in way of edits or overdubs -- keeps everything grounded. Indeed, Gleason's additions are often so natural that it is hard to pick out what's acoustic and what's synthesized. While the Mwandishi Band's tenure was unfortunately short-lived, the advances Herbie Hancock made with them still sound exciting today and would propel him into further inventive territory with future jazz-funk project The Headhunters."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ASH 301LP
|
"If Fat Albert Rotunda sounds like the most fun Herbie Hancock had in his early years as a band leader, it should. He composed the music for the pilot of the children's television show Fat Albert, redirecting the post-bop jazz he honed in a five-year stint with the Miles Davis Quintet towards the R&B and funk styles with which he was becoming enamored. The result was a playful, joyous album in which Hancock clearly had a great time. The same goes for the rest of his Sextet, which by the time of recording in late 1969 was both razor sharp and confidently loose from rehearsing and touring. Flying high with three horn players -- Joe Henderson on sax and flute, Garrett Brown on trombone and Johnny Coles on trumpet and flugelhorn -- alongside Hancock's soaring Fender Rhodes electric piano, the group could swing freely on a track like the rousing 'Fat Mama' and emote precisely on the subtle 'Tell Me A Bedtime Story.' Their versatility won over Warner Bros. who signed Hancock after hearing these infectious compositions and watched Fat Albert Rotunda climb the Billboard Jazz Charts. In subsequent years, Hancock would expand and experiment with the Sextet's sound, creating two more albums for Warner Bros. Regardless of where he went next, Fat Albert Rotunda is still, 50 years later, about as fun as music gets."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ASH 302LP
|
2021 repress. "After releasing their Warner Bros. debut, the Herbie Hancock Sextet underwent a major transformation in the early '70s. Over the course of a year, every member was replaced (except Herbie Hancock himself and bassist Buster Williams) and each adopted Swahili names. (Williams even led the group in occasional sessions of Buddhist chanting.) Hancock chose the moniker Mwandishi (meaning 'composer'), and the Sextet became unofficially known as the Mwandishi Band. The lineup's first album -- simply titled Mwandishi -- reflects Hancock's new aesthetic and spiritual directions. Stretching out from the R&B/jazz fusion of Fat Albert Rotunda, the pianist would draw inspiration from his time with Miles Davis (whose classic Bitches Brew came out in 1970) as well as through the creative relationship he had formed with producer David Rubinson (known for his work with Moby Grape and Santana). 'Ostinato (Suite for Angela),' dedicated to political activist Angela Davis, is an extended jam with stunning rhythmic complexity -- enhanced by studio effects, such as Echoplex delay. On the ballad 'You'll Know When You Get There,' Hancock's tight arrangements are saturated in reverb, which gives an ever-shifting dimensionality. Side-long closer 'Wandering Spirit Song,' written by trombonist Julian Priester (aka Pepo Mtoto), goes even further out: alternating between dynamic soloing and group improvisation, the Sextet fully manifests the radical potential of their collective identity/energy. Mwandishi remains a bold and expansive statement, even after nearly 50 years."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
GET 51294LP
|
[Sold out. Replaced in 2020 by GET 51446LP] 2019 repress. "Never before released commercially on vinyl in the US! This double live outing from Herbie Hancock was recorded in Tokyo in July of 1975. Backed up by The Headhunters, Hancock runs through selections from his albums Head Hunters, Thrust and Man-Child -- that last project still being months away from release at the time of this recording. Get On Down's reissue of the vinyl will be the first US release for the double LP, ever."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82049LP
|
Wax Love present a reissue of Herbie Hancock's Inventions & Dimensions, originally released in 1964. Inventions & Dimensions is the third album Herbie Hancock ever released as a leader and proof that he was not an artist who was willing to be pigeonholed. Featuring a quartet made up of a bassist and two Latin percussionists, Inventions & Dimensions explores the possibility of Latin percussion outside the context of a Latin jazz album. Comprised of post-bop and modal compositions all from the pen of Hancock, this is a beautiful album that shows the promise of a young and confident pianist and composer who would blossom into one of the most celebrated talents in jazz history. Essential.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
8CD BOX
|
|
HH 3002BOX
|
The Broadcast Collection 1973-1983 is an eight-disc box set that brings together eight legendary performances by the visionary keyboardist/composer Herbie Hancock. The box set traces his musical trajectory from the point he closed the Mwandishi (1971) chapter to embark on his Head Hunters trip in 1973, to putting together a revised line-up of his Very Special One-Time Performance band in 1983. Along the way, Hancock collaborated with distinguished musicians such as Bennie Maupin, Jaco Pastorius, Joni Mitchell, Wynton Marsalis, Buster Williams, Tony Williams, and Carlos Santana. This superb collection of live performances broadcast on radio and TV, is presented here, professionally remastered. Includes the entire original WBCN, KJSO, WXRT, WBUR, NHK-FM Radio, and PBS-TV broadcasts, covering live performances from Boston (1973), Omaha (1975), Chicago (1977, 1981), Berkeley (1978), Tokyo (1981, 1983). Includes 24-page full-color booklet with background notes and rare images.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HH 3051CD
|
Herbie Hancock featuring Ron Carter, Branford Marsalis, Wynton Marsalis, and Tony Williams, live from NHK Hall, Tokyo, Japan on May 19th, 1983. Herbie Hancock originally formed his "Very Special One-Time Performance" band in 1976. In 1983, he put together a revised line-up featuring Wynton Marsalis (trumpet), Branford Marsalis (tenor and soprano saxophone), Ron Carter (bass), and Tony Williams (drums). That remarkable quintet is featured on this remarkable set, originally broadcast on NHK Radio, Japan. The entire broadcast is presented here, digitally remastered, with background notes and images.
|
viewing 1 To 14 of 14 items
|
|