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Gershwin's World [Hybrid SACD - DSD]

Herbie Hancock Audio CD
4.1 out of 5 stars  See all reviews (52 customer reviews)

Price: $17.52 & FREE Shipping on orders over $35. Details
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MP3 Music, 14 Songs, 1998 $9.49  
Audio CD, 1998 $18.22  
Audio CD, Hybrid SACD - DSD, 2004 $17.52  

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Gershwin's World + River: The Joni Letters + Essential Herbie Hancock
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Product Details

  • Audio CD (November 9, 2004)
  • Number of Discs: 1
  • Format: Hybrid SACD - DSD
  • Label: Verve
  • ASIN: B0000X4IRI
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (52 customer reviews)
  • Amazon Best Sellers Rank: #44,739 in Music (See Top 100 in Music)

1. Overture (Fascinating Rhythm)
2. It Ain't Necessarily So
3. The Man I Love
4. Here Come de Honey Man
5. St. Louis Blues
6. Lullaby
7. Blueberry Rhyme
8. It Ain't Necessarily So (Interlude)
9. Cotton Tail
10. Summertime
11. My Man's Gone Now
12. Prelude in C# Minor
13. Concerto For Piano and Orchestra in G, 2nd Movement (Ravel)
14. Embraceable You

Editorial Reviews


Customer Reviews

Most Helpful Customer Reviews
18 of 18 people found the following review helpful
5.0 out of 5 stars a beautiful rendition..... October 10, 1999
Format:Audio CD
Just when you thought you'd heard all of gershwin.. a jazz master such as herbie hancock brings together this talented bunch and gives us a whole new definition of his work. A new approach to gershwin which leaves me gasping. The album flows beautifully from end to end and can be considered a summation of the "feel" of gershwin from the point of view of the arranger herbie hancock. Herbie has always been one of my favorite jazz aritsts, and this album is no exception to his excellent musicmanship. If you've liked herbie's albums before, I'd put this one right up there with 1+1, headhunters, and all his other defining albums.. Herbie has definately created a winner here.
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23 of 25 people found the following review helpful
5.0 out of 5 stars Majestic, a musical experience for body and soul December 7, 1998
Format:Audio CD
I saw Herbie Hancock live for the first time in London in the early 80's, accompanying Winton Marsalis. He blew me away, for the range of his technique and conceptual genius.On this album, he soars on gilded wings, portraying his vision of Gershwin, aided by the stellar cast he has surrounded himself with.The sound of Wayne Shorter's Tenor horn brings back memories of that all -time great band of Miles in the 60's.The amazing vision that Herbie has, which he gathered under Miles, is shown at its fullest here, in the mental and aural concepts he explores.He takes Gershwin's compositions to their limits, expanding them with a subtle intensity which breaks into white flame on tracks like " Summertime", a piece now so common that one would think it impossible to reignite it with new life. But reignite it he does, with Joni's smoky,etheral/erotic vocals and that piano. The incorporation of African percussionists is a master stroke, and underpins the themes with a breathy freshness. It is marvellous to hear Stevie Wonder exploring those cadences which show here where Rap and Hip hop came from. There are no duds here-this is a coming together of all that is finest in American and world music, united in the vision of genius-Gershiwn and Herbie Hancock. If your are not a jazz fan, if you listen to one "jazz" album a year, but if you listen to musci of any sort, listen to this. Majestic,marvellous, this is a master work for all.
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17 of 20 people found the following review helpful
Format:Audio CD
This would have earned 5* were it not for the annoying title and a few cuts that just don't work. While many of the 14 selections evoke Gershwin, not all of them "reach inside the core of the piece in search of the composer's original impulses," as stated (pretentiously, I think) on the CD cover. The most effective pieces stay fairly close to Gershwin, (including "The Man I Love" and "Summertime" with inspired, bluesy vocals by Joni Mitchell and effective comping by Wayne Shorter on sax), although there is outstanding African instrumentation (djembe, talking drum, and three percussionists) on the "Overture" (a spin on "Fascinating Rhythm) and on "It Ain't Necessarily So." The latter features multi-layered African drums, an immense bottom, and a beautifully muted trumpet by Eddie Henderson. Another highlight is the unaccompanied "Embraceable You," taken here at a languid pace that recalls Andy Bey's rich vocal version.
Stevie Wonder's scat/harmonica on "St. Louis Blues" (by W.C. Handy) is a major disappointment. Was it included here for it's single potential? It doesn't fit, either as a Gershwin-esque reconstruction or as a W.C. Handy interpretation. "St. Louis Blues" and Duke Ellington's "Cotton Tail" seem like marketing ploys, even if Cotton Tail is based on the "I Got Rhythm's" chord structure (a debt that is hardly unique in jazz).
"Lullaby" is a Gershwin song I've never heard (or just don't recognize), but the band pulls it off with majesty and soul. Operatic at times, floating and mystical at others, layered with blue notes, it is a beautifully orchestrated number (Did "There is a Rose in Spanish Harlem" copy some of the melody?).
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12 of 14 people found the following review helpful
5.0 out of 5 stars The best "Embraceable" you could have... June 6, 2003
Format:Audio CD
This CD is a Masterpiece!
You can also get, the DVD.
It's shocking Herbie's interpretation of "Concerto For Piano And Orchestra In G, 2nd Movement", it's so funny, that even underwater we could recognize it's Herbie Hancock playing. I'm thinking about those people who wrote a bad review of Chick Corea playing Mozart what they would write here about it. :)
I feel fine whenever a Jazz Musician plays classical music, because they're free, and music sound as fresh as when the composer did it.I always think: It's better to listen to Classical music played by Jazz Musicians than to listen Jazz or popular music played by Classical Musicians. The second option always tends to be a disaster!!
Congratulations Herbie Hancock for this NICE work.
George Gershwin (one of the first Jazz Musicians ) would have loved it!
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12 of 15 people found the following review helpful
3.0 out of 5 stars Just doesn't cohere and therefore doesn't compel July 25, 2000
Format:Audio CD
Until a week ago, I have never listened to the album but knew of the critical and popular acclaim it has received. I picked it up from the library and have attentively listened to it four times. While the individual performances are enjoyable listens, the album on the whole didn't satisfy me or absorb my attention as I thought a Hancock tribute to Gershwin might.

After having heard about it for years and having seen it receive numerous awards, I was disappointed in the quality of the album and enormously surprised by all the critical and popular accolades.

This is a poorly conceived Gershwin tribute in that it sounds like parts of at least three concepts (e.g., chamber-jazz-style approach, postbop approach, rhythm and blues approach to the Gershwin-penned or Gershwin-ish tunes)that could have been executed in the form of three thoughtful tributes. Don't get me wrong. Each individual tune seems to be thoughtfully arranged, creatively interpreted, and well executed. However, the tunes simply don't cohere in an album format. There is a little chamber-like jazz mixed with a little bop mixed with a little rhythm and blues. The stylistic shifts are jarring and divert from the quality of each individual tune. In other words, the parts are greater than the whole and the whole detracts from the parts.

I think Hancock was trying to appeal to too many tastes (his own tastes or those of the listening audience . . . who knows?) and ended up with a stylistic potpourri that jars the listener rather than drawing him or her in. Therefore, the album comes across as a novelty rather than a truly compelling listen.

Let me give deserving recognition to Joni Mitchell and Stevie Wonder who take on their challenging tasks gracefully.
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Most Recent Customer Reviews
4.0 out of 5 stars Four Stars
Nice stuff.
Published 14 days ago by Lawrence E. Hite
5.0 out of 5 stars Herbie is one of the best!
Incredible music, as usual. There were some Debussy or Ravel plays by Herbie but not Gershwin. I did not understand that. It seemed to me that he wanted to fill the CD. Read more
Published 6 months ago by "Sam" Twain
5.0 out of 5 stars One of the rare ones
Truly a classic album. Seemless cohesive and sometimes simultaneous blend of jazz, soul and classical genres. Mr.Hancock deserves Master composer credit for producing this work.
Published 7 months ago by tobin lewis
1.0 out of 5 stars Not Rhapsody in blue
I am sorry I bought this. I like Herby Hancock and love Rhapsody in Blue by Gershwin but this didn't do justice to it.
Published 13 months ago by Moshe
5.0 out of 5 stars Gershwin's World
Some superb playing and singing.

A very special project, more detailed and surprisingly fresh arrangements and performances. Read more
Published 16 months ago by Jim Langabeer
5.0 out of 5 stars An old favorite sounds even better on SACD
This certainly is one of the best dedication albums I have heard - it doesn't just cover material, but goes on to interpret the Gershwin spirit. Read more
Published 19 months ago by Mark R
5.0 out of 5 stars a must have!
one of the best jazz cd's I own! Impeccable, awesome, gorgeous, beautifully created cd by Herbie Hancock! A must to own ~
Published on September 1, 2011 by sharonskayak
2.0 out of 5 stars Selective
Like so many audio CDs being produced these days, there is a lot of "lesser music" tossed in with the "better music". On this disc, I junked about 8 out of 14 tracks. Read more
Published on August 22, 2010 by B. R. De Marco
5.0 out of 5 stars everything clicks into focus
When I play this CD, it reminds me of why I fell in love with jazz. This is understated genius at its best.
Published on June 26, 2010 by Sven Felsby
4.0 out of 5 stars Very brave album, but not for everyone
No doubt about it, Herbie Hancock is one of the greatest geniuses of jazz and this album a typically brave attempt to push at the borders of jazz creativity, just as Charles Mingus... Read more
Published on March 1, 2009 by David Regenspan
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