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21 of 22 people found the following review helpful:
5.0 out of 5 stars
Jazz-rock, funk for the deep thinker, and a ton of analog synthesizers, May 21, 2006
Although I enjoyed the Headhunters album (1973), this 1974 release is a bit more appealing - and it has nothing to do with the sci-fi cover art. In general, the playing on this album seems further out there and a bit more sophisticated, even though the only thing that changed was the addition of jaw-dropping virtuoso drummer Mike Clark (shows you just how important the drummer is I guess).
The musicians on this album include the keyboard wizard himself Herbie Hancock playing "traditional" jazz-rock instruments (Fender Rhodes electric piano and Hohner D-6 clavinet) along with just about every synthesizer ARP manufactured in 1974 (ARP Odyssey, ARP Pro Soloist, ARP 2600, and ARP String Ensemble); Bernie Maupin (soprano and tenor saxophone, saxello, bass clarinet, and flute); Paul Jackson (electric bass guitar); Paul Summers (percussion); and drummer extraordinaire Mike Clark (who went on to jam with English jazz rock group Brand X).
Stylistically, this album fuses elements of traditional (straight) jazz with both jazz-rock and funk. With respect to the funk styles, the funk is not the more pop-oriented style of Sly and the Family Stone. This funk is deeply sophisticated and utilizes just about every odd time signature under the sun, which is largely an artifact of Mike Clarks' nimble and intricate technique (Actual Proof is a great example). Furthermore, his emphasis on subtle hesitations within a given bar lends the music an almost "choppy" and "off-kilter" feel. In fact, based upon Mike's comments in the liner notes (that he wrote), he seemed unwilling to play anything straight - I for one am glad, because I do not care for straight funk that much. Come to think of it, I am a progressive rock fan for crying out loud. I should note that bassist Paul is also excellent and does not "swing" either - then again, he has to follow Mike and they are both locked in tight on this album.
With respect to the heavy use of synthesizers on this album, I personally like the sounds that Herbie gets. Although synthesizers may turn some jazz fans off, I am a bit more accepting because my musical tastes include both 1970's electronica and European progressive rock.
All in all, this is a superb album of jazz-rock/funk from one of the genre's greatest musicians. Recommended along with Headhunters (1973) and albums by other influential Miles Davis alumni including John McLaughlin/Billy Cobham (Mahavishnu Orchestra - Birds of Fire, 1973); Joe Zawinul/Wayne Shorter (Weather Report - Black Market, 1976); and Chick Corea (Return to Forever - Romantic Warrior, 1976).
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
Music mastery, April 17, 2004
Herbie has complete control over this musical experience, with wonderful backing from a tight band. I purchased this album after picking up "Flood," the live album Hancock recorded with 3 of the songs from Thrust on it, as well as Chameleon and some other classics. What amazes me the most is how close to the studio sound the live version was; the live playing on Flood is just as polished as the studio-produced Thrust, underlining and highlighting the band's skills. The music on Thrust is some of Herbie's finest. It's very universal, too, as casual listeners can simply hear some very fast, funky beats, while a musician such as myself can listen with their jaw agape, trying to understand these songs were conceived and composed. My favorite track from Flood, Butterfly, is done a little differently on this album, though not much. It's a nice respite from the unrelenting beats on the other three tracks. The interplay between the few instruments is always interesting to me; a storybook created with notes. I highly recommend this album, and then the live recording, Flood, of Herbie's band playing these and more. They're two albums that can be universally liked by anyone who wants to hear what's next, even though it was recorded over 20 years ago.
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11 of 12 people found the following review helpful:
5.0 out of 5 stars
definatley superior to 'Headhunters', May 12, 2001
I personally prefer this Herbie Hancock record over it's predecessor, Head Hunters (and his later funk efforts) - it generally sounds better realised than loosely jamming tunes such as 'Chameleon' and 'Sly', more mature than 'Watermelon Man'. Don't get me wrong, Headhunters has it's moments of greatness, but this record is more consistent. Headhunters was necessary, but really a way for Herbie to find his feet in 'jazz-funk'. Track 2, "Actual Proof" is THE definition of 'Jazz-Funk' - post-bop chords and melody (not to mention an excellent, lengthy Rhodes piano exploration by the man himslef) fused over fat funk. It's a shame Herb hasn't recorded more tunes similar in approach to this one. "Spank-A-Lee" opens with the most amazing groove with Herb on seriously funky clavinet (and later Rhodes) before Bennie Maupin rips on tenor. "Butterfly" is the set's token change of pace (as was the moody "Vein-Melter" from 'Headhunters'), and again shows Maupin's skills on the reeds, this time with Soprano sax. "Palm Grease" is similar to "Spank-A-Lee" in that it maintains serious funk throughout. Herbie is wihtout doubt an excellent keyboard player, and on this album he really gets the chance to show this with a more varied set than 'Headhunters', which lacks the direction and cohesion of this set, I feel. Mike Clarke on drums also makes a big difference, giving an extra edge to the group sound. I think it's a shame that Headhunters gets most of the attention!
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