21 of 21 people found the following review helpful:
4.0 out of 5 stars
Great material, fine packaging, some programming quirks, January 16, 2001
First off, six discs of Herbie Hancock's Blue Note material -- gathered in its entirety -- could never be considered a bad thing. Listeners will be treated to two genuine classic releases, "Empyrean Isles" and "Maiden Voyage," as well as the vastly underrated recordings with percussionist Willie Bobo, "Inventions and Dimensions," the excellent debut "Takin' Off," the inventive "My Point of View," the lyrical "Speak Like a Child," and the infrequently heard and transitional "The Prisoner."
The breadth of compositional talents is well displayed, as is his lithe pianistic technique. The young Hancock always seemed as if he were floating somewhere in space when he played. Listening to these pieces, it's easy to see why he was later attracted to the electric piano.
Listeners who came to Hancock in the '70s and beyond should understand that there are no electronics or electrified funk. Herbie began his recording Blue Note recording career in his early twenties as an acoustic jazz pianist. His first album featured an earthy semi-hit "Watermelon Man," but as early as his second album, "My Point of View," he was broadening the musical palette with the addition of trombonist Grachan Moncur, and by the time of "Empyrean Isles," he was penning extended compositions such as "The Egg," with free passages that challenged the inventiveness of his bandmates. "Speak Like a Child" and the less successful "The Prisoner" also used broad orchestral arrangements and shifting colors.
The set contains many highlights. There is an excellent booklet that details the tunes and the arc of Hancock's career. Musically, there is the field shout of Dexter Gordon's tenor on "Watermelon Man"; the smooth swagger of "And What If I Don't"; the darting piano kicked along by Latin percussion on "Jack Rabbit"; the loping rhythm of "Cantalope Island" aided by Freddie Hubbard's soaring trumpet; the airy lyricism of "Maiden Voyage"; and the broad aural tapestry of "Riot," just to mention a few.
This is a Blue Note compilation, so you know you are going to encounter many fine musicians along the way. The aforementioned Gordon and Hubbard figure prominently on the discs, particularly Hubbard, whose sound seems especially well suited to Hancock's inventions. Tony Williams' drums and George Coleman's tenor sax make fine contributions, and Hank Mobley adds his own buttery tenor sound to the "My Point of View" selections.
The complaint I have about the collection is a programming one. One can debate the merit of including alternate takes (I'm normally not big on them), but there are 12 included on the six-disc set. That number is not outrageous, but someone should have rethought including takes back-to-back. The worst example of this occurs on Disc 5, where three consecutive versions of "Riot" appear. That's at least one too many (I'd prefer that alternate takes not be placed immediately before or after the original in any case), but when three versions come in succession, the flow of the music is seriously disrupted.
That irritation aside, the collection is generally a challenging and satisfying listening experience, one that reveals Hancock's efforts to broaden the modern conception of jazz.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
Blue Note Hancock: The Very, Very Best., November 6, 2005
This review is from: The Complete Blue Note 60's Sessions (Audio CD)
Anyone who wants a broad spectrum of what the
1960s meant for Jazz, as well as anyone who just wants
to hear some of the strongest, most eloquent, and most
affirmative Music ever conceived, are urgently advised
to obtain this 6 CD collection. HERBIE HANCOCK: THE
COMPLETE BLUE NOTE SIXTIES SESSIONS is a loving
portrait of artistry on the creative move.
From funky Blues to Freedom with a sweeping upswing,
this collection of the acoustic pianist's 1961-1969 work
for Blue Note focuses on his albums as a leader, as well
as his compositional contributions as a sideman for tenorist
Wayne Shorter, trumpeter Donald Byrd, and -most
notably- vibraphonist Bobby Hutcherson.
This collection represents the heart of Herbie
Hancock. Taking the finest touches of Red Garland, Bill
Evans, and Wynton Kelly, Hancock emerged a nimble enough
player to tackle anything, and his work with Miles Davis
helped to reawaken the trumpeter's innovative palette in
the mid-1960s. What this set brandishes, however, is the
sheer genius of Hancock's own original concept; a key
factor in expanding the period's smoking hard bop into
the simmering dare and explosive challenge of the
then-emerging Jazz avant garde.
Not content to simply groove, and never one to
go "out" for the Hell of it (as most weren't, anyway,
regardless of Ken Burns' critical misassessments!),
Hancock was at the vanguard of the period's second
wave of prime Jazz movers. Along with pianist Andrew
Hill, to say nothing of the overall personnel comprising
these sides, Hancock was a key factor in relaying the
multiharmonic, polyrhythmic advances of the period's
Jazz avant garde into some of the 1960s' most stunningly
captivating, awe-inspiring, utterly beautiful performances
ever recorded.
Listen to the aural splendor of "Mimosa", the
tantalizing playfulness of "Oliloqui Valley", or the
epic portrait of Dr. Martin Luther King Jr. offered in
the sumptuous "I Have A Dream", and you hear a mind as
inspired by Eric Dolphy, John Coltrane and Cecil Taylor
as by the finest purveyors of popular sound.
As the original versions of "Watermelon Man" reflect
over 40 years later, Hancock was ALWAYS funky.
The point is that, here, Funk does not condescend.
Here, Groove -sweet and nasty- elevates.
Contrast "Watermelon Man", "Blind Man, Blind Man",
or the turbulent "Riot" with the collection's closing track,
"Don't Even Go There". Of all the work on these
6 CDs, "Don't Even Go There" is the only track which
sounds dated and stale. A ploddingly conscious effort
for a pop hit, the piece's title, in fact, would prove
a portent for much of what Hancock would fall into over
the decades (particularly after he ended the brilliant
collective MWANDISHI with his Columbia debut, SEXTANT).
The strongest point of what constitutes Hancock's
finest contributions comes straight from this collection.
Digging deep, scampering swift and sure, Hancock is as
potent an accompanist as he is an improviser; a key
factor in the time-tested power of his finest compositions.
Listen to Hancock alongside the fiery balladry of
brass king Freddie Hubbard, the spirited thunder of drummer
Tony Williams, the deep-picking sway of guitarist Grant
Green, or the smouldering lyricism of tenormen George
Coleman and Dexter Gordon (Just to name a few who grace
this dynamic collection!), and you'll be floored by
what big ears Hancock displays here.
Listen to the sheer majesty of "Maiden Voyage", and
gain a vital insight into a master's most shining hour.
Selectivity and sensitvity, not showboating, not trend
following, rules here.
Quite simply, this is a feast for the mind and the
soul. Give your ears a treat, too, and obtain this major
contribution to the annals of great Music.
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