Customer Reviews

Head Hunters (Limited Edition)

5 star:		(87)
4 star:		(18)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

I am mostly a heavy metal fan, I am a big fan of bands like Sabbath, Maiden, Zeppelin, Purple, and you know, all the classics. I kind of bought Headhunters on a whim after seeing it on someone's list on this site. I have had it about 3 days, and it is already one of my all-time favorite albums. I know next to nothing about jazz OR funk, but all I know is that this record kicks my ....

The first half, "Chameleon" and "Watermelon Man" consists of I guess the most accessible material on the album. I knew I would become a fan as soon as I listened to these two killer songs. The last half also has 2 songs, "Sly" and "Vein Melter". I'll be honest, I did not really care for these songs when I first heard them, but I made myself listen to the whole album a few more times, and now I think that the 2nd side of the album has just as much, if not more, redeeming value than the 1st half!

All of the musicians on Headhunters are playing brilliantly. The saxophone player can tear such a good solo! The drum and bass rhythm section are killer, they lay down such a tight groove. And of course, there is Herbie Hancock himself, who plays a variety of keyboard instruments. He plays synthesizers and even a "clavinet" (this is new to me) that sounds like a guitar. This guy rocks so hard! Every song is different and unique, and all 42 minutes of it blow me away. The solos (keys and saxophone) are so awesome, and they are so long! They seem to last forever, and the jams just get more and more intense second after second.

Now I will have to get more music by Herbie he rocks! (and his band, of course, they deserve plenty of credit.) People seem to be saying that Maiden Voyage is great, so I guess I'll get that next.....

Despite the fact that jazz purists and critics have labeled him a sell out, Herbie Hancock has proven himself to be a classic artist in the pantheon of jazz as well as funk with this stellar release. With a strong and steadfast opener called "Chameleon", Bassist Paul Jackson sets the foundation with his famous and unrivaled chromatic bass line. Added is Herbie's wah-induced keyboards, and then an all out funk jam is unleashed upon the listener's ears. The highlight of this song in my opinion is the modal section where the bass line changes and you can here some moody improvisation. The most popular track however, would have to be a groovy new version of Hancock's famous "Watermelon Man" with great percussion by Bill Summers. "Sly" follows with great pulsing rhythms, fabulous drum work by Harvey Mason, and a soaring Soprano sax by Maupin. The funk turns to an ethereal, experimental jam later with my personal favorite "Vein Melter". Sonic textures from Herbie's keyboards are layered with Maupin's subtle but sensual clarinet line. A great closing number that will leave you satisfied. Though some may not compare it to great works from Miles Davis or John Coltrane, Herbie Hancock's Headhunters will remain my favorite jazz album for years to come. It's influence has penetrated deep within modern hip-hop as well as jazz itself.

Either too much or not much can be said about Herbie Hancock's monumental masterpiece, HeadHunters. It is, without a doubt, one of the best and most influential recordings of the 20th century. Even 28 years from its inception, HeadHunters continues to influence music. All the "greats" of Hip Hop and Rap, from Puff Daddy to Dr. Dre have Herbie Hancock to thank. Herbie created funk grooves and instrumental inventions still advanced to latest attempts. Yet, sadly enough, Hilfiger-sporting, bleach-haired, suburbanite preps have no idea that the lastest masterpieces by Eminem couldn't have been without Hancock and the HeadHunters.

Hopefully, you, the prospective buyer, have either heard HeadHunters before or are listening to the samples at this moment. You should be beginning to understand the impact that this album made. If you are familiar with previous fusion, you know that this sound hadn't really started yet. And if you have a virgin ear, perhaps you are hearing the future during the past for the first time. My favorite song on the album remains to be "Watermelon Man". It is hip-hop, funk, and jazz at its finest. When I hear this song, I hear the beats and grooves of so many artists twenty years after, desperately trying to match its intensity. Furthermore, although there are so many highlights in HeadHunters, Saxophonist Bennie Maupin stands out. He is able to bring smooth, melodic, fast, and furious sounds into all the sounds and should be commended. HeadHunters appeals to such a broad audience because there is so much of "it" there, exactly what you want to hear at exactly the right time.

I have found only one qualm with HeadHunters, and it is not necesarily bad. I wanted more. I would listen to HeadHunters again and again and I needed more grooves, improvisations, and tricks. HeadHunters is incomplete, but that isn't bad. The follow up album, Thrust, in my opinion, closes what Herbie Hancock was trying to create. Put Headhunters and Thrust together and you have a vision, a focus, making a full circle of a musical style. But just HeadHunters itself still makes a powerful statement. Nevertheless, it's a safe bet that if you get HeadHunters, you're going to want more.

There are moments from this album that rightly earn the attention the album has acheived since it's release nearly 30 years ago. There are however moments that show that Hancock and his group were still getting to grips with jazz-funk.

The classic jam 'Chameleon' arguably lacks the cohesion typical of it's successor, Thrust, and 'Sly' descends abruptly into a tumultuous (although enjoyable) free-funk jam and wastes the potential of it's killer opening grooves and stabs - dig Paul Jackson's melodic, spaced out bass lines on these slower, funkier sections. 'Watermelon Man' is a creative update of the hit from Herbie's debut for Blue Note, 'Taking Off', but the beat drags and could do with some pace and heat.

This review might paint the album as a less-than-four-star album, but there are excellent moments such as Herbie's Rhodes piano solos on 'Sly' and the breakdown section of 'Chameleon' (the tune's highlight, for me). When people review this album, they generally make note of the first two tracks, but my favourite moments are from side B. The atmospheric, melodic 'Vein Melter' employs Bennie Maupin's bass clarinet really effectively and the result is a much more interesting and original sound than other funk excursions. 'Sly' also contains the best 'jazz-funk' from the album, the middle section shows Herb and Bennie streching far out over the vamps.

It is definately worth hearing, if not buying, but really Thrust is the ultimate Jazz-Funk album.

I like Headhunters just fine. It's a pleasant toe-tapper with excellent improvisation from Hancock, Mason, Maupin and company. But let's make one thing crystal clear -- Herbie Hancock owes much of this album's success to Miles Davis, because he took Miles' vision of a polyrhythmic union of jazz, funk and rock and created an extremely accessible, million-selling record. Was that a good thing? Did the student become the master, or did he in fact soil the master? Depends on how you like your rock/jazz/funk.

Back in 1968 and 1969, Miles saw where music was heading, and as usual he was at the forefront of it all. He was hanging out with Jimi Hendrix, while at the same time soaking in the music of James Brown and Sly and the Family Stone. Sly in particular intrigued both Miles and Hancock, who had been a part of Miles' classic sixties quintet along with Ron Carter, Wayne Shorter, and the great Tony Williams. One of the great jazz pianists of all time, Hancock watched as Miles gradually stretched the quintet as far as it could go musically, then began to add electric instruments in an attempt to add a heavier, more rock/funk element to his music.

Miles gradually changed his lineup to fulfill this vision, adding musicians like Chick Corea and John McLaughlin who played electric piano and guitar, respectively. He plugged in Herbie's piano and his own trumpet, just to see what kind of sounds he could make:

The results were stunning: In a few short years, he churned out masterpieces such as Miles In The Sky, Filles de Kilimanjaro, In A Silent Way, Bitches Brew, and Jack Johnson -- and he was just getting warmed up. He was planning his crowning glory, the one album that would get his music across to a younger group of fans currently grooving to people like Sly, James Brown, George Clinton, and Curtis Mayfield, and place himself (and therefore much of jazz) firmly in that camp. That album was On The Corner.

I am not here to say that On The Corner is better than Headhunters. In fact, I would call On The Corner a noble failure. Released in 1972, On The Corner was a dense, swirling mudslide of grooves that was roundly rejected by all audiences. Not only was it a commercial flop, On The Corner was savaged by jazz purists and rock critics alike. The great Lester Bangs called On The Corner "a form of suicide, or at least an artistically perverse act of the highest order." But one man was watching, and his name was Herbie Hancock.

Released one year later, in 1973, Headhunters should be called "On The Corner Lite", or "On The Corner And Accessible". Headhunters also became the best-selling jazz LP of all time during that year. Think Miles was upset about that? Well, he was -- so much so that he put down his trumpet not long after -- and didn't pick it up again for years and years.

Again, this is not to bash Headhunters. Hancock saw what Miles wanted to do, and quite frankly did it correctly. Many critics said Headhunters was not jazz. However, the record set by Headhunters was subsequently smashed to pieces years later, by Kenny G's Breathless (insert your own joke here).

I guess all I'm saying is to give On The Corner a listen if you are a fan of Headhunters. I started with Headhunters -- which led me backwards in time to the aforementioned Miles albums. So I guess any record that led me on that backwards musical journey can't be all bad.

The journey forward from Headhunters, at least from a jazz standpoint, is not so rosy.

This album was my first experience with Herbie Hancock's solo work. I knew his work with the Davis quintet well; albums like "Miles Smiles" showcase his acoustic piano genius at full throttle. I had no clue what I was getting into when I found this gem at a used record store (in the bargain bin?!?!?!).

The album opens with one of the greatest bass lines ever conceived, and instantly the listener is thrown head-first into the funky head-bobbing grandeur of "Chameleon". For me, this was one of those rare musical moments in which I instantly fell deeply in love with everything I was hearing. The rhythm section of drummer Harvey Mason and bassist Paul Jackson lay down the fat, dense jazz-funk that would become the standard for 70's fusion and beyond. Mason's drums sound a little dated with that punchy, muffled 70's tone, but in a good way; it's oh so characteristic and wonderful to the ears, and the man is a beast of a drummer. "Chameleon" transitions from a danceable hard funk piece with some mighty playing from Herbie and saxophonist Bennie Maupin into a more ethereal fusion-jazz mode featuring one of the most subtle and irresistable bass licks I've ever heard. It then transitions back to the funk after a glorious climax, and the track fades out with Maupin once again soloing like a madman.

"Watermelon Man" begins with what I suppose could be called a beer bottle, flute, and yelping ensemble. If this sounds odd, just give it a listen and hear for yourself. Pure genius. It's probably the best known track from the album, and for good reason. Jackson throws down the groove towards the end of the intro (best bass line ever?), and from there the listener is undoubtedly grinning from ear to ear. This song was created solely for the listener to feel like the coolest person that ever lived. It is a slower, more laid-back groove than "Chameleon", and Bill Summers' auxiliary percussion is impeccable. If the first track doesn't hook you, this one will.

"Sly" may be slightly more difficult to casual listeners. It is the spaciest track on the album, and is much faster and more raucous than the rest. Herbie goes all out with the synths for some really wild effects, and Mason careens out of control in a maelstrom of polyrhythms. The structure is slightly similar to "Chameleon" in that there is an introductory section, an altered middle, and a return, but the music here is entirely different. The mid-tempo space-jazz introduction abruptly kicks into a Latin fusion section with some powerful jamming between the group. Not a note by any player is overlooked by any other player, and the organic development of the jam section in this song is magic to the ears. There are a lot of overdubbed parts, both subtle and apparent, on much of this album, but the majority of "Sly" focuses more on the group's uncanny ability to improvise.

The album's closer, "Vein Melter", is a truly beautiful piece. Herbie showcases his knack for texture with some gorgeous synth arrangements, and Jackson's bass is downright comforting. The track fades out exactly as it begins, with little more than a sneaky bass drum, and in between lies quite a romantic, dreamy song. Maupin is also in top form, playing only what he needs to. The song serves as the perfect closer to the record, capping off the jammed-out enthusiasm of the first three tracks with a peaceful goodnight of sorts.

If you're already a fan of Herbie's stuff, this record should be proudly displayed in your collection. If you're new, it's the perfect place to start. The grooves on this album are classic and unmistakably Herbie, and if you've got any musical sense at all, this one likely won't leave your stereo for some time.

Herbie Hancock released Headhunters in 1973. This album represented a change in his music. His previous albums, while still having influences in jazz and R&B, were becoming increasingly challenging affairs. While the album Fat Albert Rotunda had snappy horn lines and memorable melodies, releases such as Crossings and Sextant tested the jazz audience's patience. Song lengths were becoming increasingly long and lacked the memorable themes of Fat Albert Rotunda as well as his hard bop recordings Maiden Voyage and Emperyean Isles. So what did Herbie do? He simplified his approach, cutting his band down from seven to five members, made the music funkier while continuing to experiment with electronics, and most importantly, put emphasis on groove. The result? One of the best jazz recordings released and arguably his best solo album in an over 40-year recording career.

The album starts with "Chameleon", perhaps the best song of the funk-jazz genre. Beginning with a simple synth bass line, Bennie Maupin's snappy horn line forms the basis of the song. Herbie's synth solo adds some spacelike sounds for the next 3 minutes before the track stops. A drum roll from Harvey Mason leads to Paul Jackson's bass solo which is first based on a simple funk line but then gets busier as the song continues. Herbie rejoins the song with a more traditional electric piano solo while the band lays down a heavy groove. As the song hits 12 minutes, the playing gets busier as the synth returns over some kinetic drumming from Mason before returning to its original theme. Although the song clocks in at nearly 16 minutes, it's so exciting that it seems like a 5-minute song. Next is a reworked and more laid-back version of Hancock's hard bop classic "Watermelon Man." Maupin's melodic saxophone solos highlight this excellent track. "Sly" starts out as a hard funk ala James Brown before becoming a percussion tour de force from Mason and Bill Summers. While the chaos ensues, Maupin throws in a sizzling solo which lasts over 3 minutes. Then the song stops again before going into a busy funk workout with Hancock entering the spotlight with an awesome piano solo spotlighting his lightning fast technique as the rhythm section gains momentum. The song then returns to its original theme before its end. The last track "Vein Melter" is a complete reversal from "Sly" in its presentation. Led by Mason's march drum beat, the band's performance is all about mood. Maupin's playing here is a thing of beauty while Hancock adds soft piano touches and atmospheric synth throughout. All told, this is one of the best jazz albums of all time and a landmark in fusion. Headhunters should be a part of every music fan's collection.

Herbie Hancock had a nice career as a Miles Davis piano sideman, and made a nice little dish out of "Maiden Voyage". Then he got experimental, doing "Crossings". He was obviously yearning for something important, but the results fell flat. Then he found his niche with his band Headhunters, and invented jazz-funk. The jazz critics panned him and called him "sell-out". Well, they were right about one thing, he sure was selling a lot of records! It stands today as Herbie's definitive contribution to music, and he should be proud.

Funk was not new in 1973. We already had the Ohio Players and other unsubtle R&B acts laying down thick, heavy dance grooves. And be-bop jazz was more than 20 years old. Herbie managed to merge these two forms, but like all great mergers, it was more than the sum of its parts, and not exactly what you would have predicted.

Stripped bare, the beat is funk, but Herbie (various electronic keyboards) and Bennie Maupin (clarinet, sax and flute) bring jazz improvisation and (in Bennie's case) soul feeling to their solos, in which the jazz becomes the main event. Also, the drumming of Harvey Mason is way too intricate, and with too light a touch to be relegated to the "funk" category. He brings a spring into the step of the music. "Chameleon" is really two separate grooves merged into one cut (change = chameleon, get it?). "Watermelon" really shines with its over-the-top flutes and whistles that segue into the ascending chromatic bass theme. "Sly" is the be-boppingest track, with frenetic solos that climax dramatically. "Vein Melter", derided by some as easy listening, is gorgeous, and the album needs one gorgeous track. Bennie's solo is tinged with longing and pain, and Herbie's electronic wizardry is like a trip into distant galaxies. "Vein Melter" also is make-out music of the highest caliber.

Herbie's follow-up album "Thrust", continues his explorations in this "vein", but somewhat less successfully. How could such a seminal performance be repeated? Thank you, Herbie.

It was all about Sly Stone.

Herbie Hancock - in a December 1996 essay included in the liner notes to Head Hunters - writes, "I started thinking about Sly Stone and how much I loved his music and how funky 'Thank You For Letting Me Be Myself' is. I was hearing that song over and over again."

From that inspiration from one artist to another came this jazz-funk classic. Clean production, ample room for Bennie Maupin (reeds), Harvey Mason (drums) and Bill Summers (percussion) to stretch their solos, with bassist Paul Jackson pushing the rhythm and Hancock pulling down unique electronic sounds in the Fall 1973 recording sessions that produced this extraordinary album.

Hancock is nothing less than superb on the classic Chameleon and Sly, the band's tribute to Sly Stone. The studio tricks on Chameleon are a special treat. Vein Melter covers a more jazzy terrain, while Watermelon Man produces some hot work from Mason and Summers.

The 1970s brought a revolution of musical vision, with Head Hunters near the top of the pack in busting down the finite walls of sound and delivering infinite possibilities through a new generation of musicians who had jazz in their hearts and funk running through their veins.

Revisiting this album is definitely a mind blowing experience... For years after, CHAMELEONS became such a major FUNK ANTHEM that it was the ultimate Bass Line/Jazz-Funk Fusion jam session cliche in the world - - so much to the point that many people began to LOATHE it... Does anybody remember a time when any time you heard that riff you actually wanted to get a gun and shoot the person playing it ??? Now all these years later, the truth is if you go back to the source, its understandable why CHAMELEONS became the ANTHEM of its generation - - why everyone had to play it, and why even I find myself doodlin' on that easy to learn, yet so soulfully infectious vamp. Here's why : Because it is and was SO d*arn funky.

As for the album itself, it is basically an experiment in a new type of music. Many Jazz musicians came to loathe it, but to be honest, I think getting offended because people call it Jazz is missing the point - - The fact is whether it is mislabeed or not does not mean it should be judge by the terms of the label... rather it should be listened to and whoever digs it, should call it what they want - - As to my opinion, HEAD HUNTERS album is really an experiment of what happens when Jazz musicians take on funk rhythms and themes and use their training and abilities to interpret using both their appreciation for the music of the generation as well as unique chops and abilities. As to people actually calling it Jazz - - well, personally speaking I would feel more comfortable if people stuck to terms like funk, Jazz/Rock or even fusion - - but heck, what people CALL it has nothing to do with the music, its the music that matters and what you get on this album in my book is sort of an instrumental non-horn version of Tower of Power (*am I the only person who's ever felt this???) - - basically very punchy and focused rhythms, a tight yet venturous rhythm section, and a type of funk that is both booty shaking *and* down home and at times even technical - - And the soloing is - - well really funky and spaced out. - - Most importantly, the rhythms are tight (as you'd expect in funk), yet their is a fluid type of experimentation that clearly comes from the Jazz spirit, and prior to this album would have never been heard on a funk recording to this extreme.

All in all, I think both funk and Jazz fans can be shallow at times to some degree - - Jazz can be funky, and funk can be Jazzy, but to say that a Jazz musician can't play funk or visa versa is missing the point... In Head Hunters, Herbie Hancock simply became hip to the world and interpreted with his unique musical abilities and that of a legendary ensemble... the end result, a new genre of music (little of which lived up to the mold, but still... a new type of music !) Today the mixture of Jazz, Rock, Funk and African rhythms are nothing new... yet surprisingly the music sounds to me as fresh as it did years and years ago... and incidentally though CHAMELEONS is most recognizable, the album is FUNKY straight through... hence the entire CD is worth the purchase.

If you dig this check out ROY AYER'S MYSTIC VOYAGE !