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Mwandishi (Warner Bros. Master Series) Import, Original recording remastered


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Mwandishi
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Audio CD, Import, Original recording remastered, March 4, 2003
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Mwandishi (Warner Bros. Master Series) + Crossings + Sextant
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Product Details

  • Audio CD (March 4, 2003)
  • Number of Discs: 1
  • Format: Import, Original recording remastered
  • Label: Warner Bros UK
  • ASIN: B000056P02
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #60,407 in Music (See Top 100 in Music)

1. Ostinato (Suite For Angela)
2. Youll Know When You Get There
3. Wandering Spirit Song

Editorial Reviews

2001 reissue of 1970 album, remastered from the original analogue tapes and packaged in a digipak. Currently out-of-print in the U.S.3 tracks. Approx. 45 minutes.

Customer Reviews

It is one of the most magnificent modern horn solos ever recorded.
Darwin Carrington
Overall this entire piece is really good and anyone who appreciates 60's and 70's jazz will surely love it.
B. E Jackson
Herbie at his best .I am on a quest to buy all of Herbie Hancock's music.
gron4u

Most Helpful Customer Reviews

26 of 26 people found the following review helpful By hiroski on June 14, 2001
Format: Audio CD
Hancock called Mwandishi "my favourite record of all the records I have ever made" in 1971. Surely the music on this album remains some of the most startling and experimental music on Hancock's entire discography, more suited perhaps for the 21st century than the one in which it was created. Just as beautiful as well known blue-note releases such as "Maiden Voyage" and "Speak Like a Child," this music contains a subversive and revolutionary edge (unlike it's predecessors) that still sits it at the forefront of contemporary music thirty years after its original release.
In explaining why he switched to a more funky and accessible style popularized on "Head Hunters" Hancock complaines to Bob Blumenthal in the notes to "Mwandishi: The Complete Warner Bros Recordings" (also definitely worth the purchase) that "I'd go to friends' homes and see my albums on the shelves with lots of other people's records, and they'd play all the others except mine." Sad. Perhaps Hancock didn't know how far ahead he was at the time, but surely time will confirm this blatantly self evident fact, especially with the crystalline sonic-quality evident on reissues of this remarkable offering on CD.
The delights contained herein are too numerous to mention, although "You'll Know When You Get There" certainly provides some of Hancock's most impressionistic and sublime keyboard moments. The support from talented and under-rated musicians such as Eddie Henderson and Julian Priester lends the music a mysterious quality, just as surely as Billy Hart and Leon Chancler's drumming perfectly realizes and provides a backdrop for what Hancock was trying to achieve in this music: consciousness raising.
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7 of 9 people found the following review helpful By Abiola. J. Sonubi on July 28, 2008
Format: Audio CD
Well then, this 1970 album, very much one of my favorites is somewhat ahead of it's time and it doesn't take (a pure head) that long to hear/ acknowledge this. In my opinion, it probably only just missed the 'Classic' status as the album had pretty much 'what it took'. As the notes mention... it's Herbie ever the avant-garde, pioneering a 'new' direction, re-defining Fusion/ Jazz rock and clearly moving further away from conventional jazz. Listening and thinking about it again, I still don't know many traditional bandleaders that would 'at the time' have sanctioned the use of equipment such as modulators and synthesizers on JAZZ, a bold move and perhaps a cardinal sin that honestly needed no atonement...

Let's start from 'Ostinato' - Track one, Bernie Maupin immediately kicks it off with his signature reed, the Bass Clarinet, soon enters Herbie Hancock, tossing a salad in with some 'spaced out' modulators here & there, Eddie Henderson then slides in and takes charge, leading the awesome tribute (as we're told) to an American activist 'Angela Davis' with a long pulsating, wailing solo, blowing himself far into hyperspace and then handing over the reins back to bandleader Herbie who brings us back to earth on a (Fender) Rhodes afterburn.

'You'll know when you get there'-- the second track is I guess, my second favorite on the album as it's very soft, sensual and is the album's ballard & perhaps best kept secret. Eddie Henderson very gently puffs, though with some occasional bursts of anxiety, then even Bennie Maupin, for most parts, goes very soft on this track, ditching his usual arrogant work tool for... a flute this time, flutes for me always bring an extra personal 'feel' on Jazz tracks. Listeners also get to hear some really cool but subtle bass lines all along the way.
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2 of 2 people found the following review helpful By Darwin Carrington on September 15, 2012
Format: Audio CD Verified Purchase
In 1974, Herbie Hancock won a Grammy award for his groundbreaking "Head Hunters" recording. But before his success on Columbia Records, he laid the cornerstone with 3 recordings done with Warner Brothers. Mwandishi is the swahili name adopted by Hancock in the late 1960s, and later named his sextet accordingly. The recording "Mwandishi" was considered progressive for its break from the traditional jazz associated with Mr.Hancock. On this recording, he dives headlong into experimentation with electronics and studio effects. The mood of the recording is other-dimensional with its generous usage of reverb and delay (echo effect). The tone is stark, even darker and funkier than what Miles was doing. "Mwandishi" is clearly the most chromatic recording he had done in the early. The enchanting "You'll know when you get there" is both beautiful and haunting; sprinkled with minor 3rds and diminished chords, building up these graceful yet eerie crescendoes. Putting Eddie Henderson's fluegelhorn through reverb and echo was sheer brilliance. It is one of the most magnificent modern horn solos ever recorded.
I've often wondered what Ravel would had sounded like if he had owned a Fender Rhodes electric piano. It would probably sound some like this tune.

On "Mwandishi", Hancock features a hearty blend of jazz, funk, african rhythms and electronica. The result is a melange of old world meets new world. Hancock, a one-time a member of Miles Davis' band in the 1960s, was influenced by Miles' usage of electronics in some of his later 1960s/early 70s Columbia recordings (see "In a Silent Way", "Filles de Kilamanjaro" and "On the Corner"). Hancock's fascination with electronics/effects is evident in this recording as well as the subsequent "Crossings" and "Sextant" releases.
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