Herbie Hancock - Mwandishi:The Complete Warner Bros. Recordings '1994

Artist	Herbie Hancock Related artists
Album name	Mwandishi:The Complete Warner Bros. Recordings
Country
Date	1994
Genre	Jazz
Play time	02:03:47
Format / Bitrate	Stereo 1420 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	760 MB(+3\%)
Price	Download $6.95

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Tracks list

Tracklist

CD1:
 
01. Wiggle Waggle (5:51)
02. Fat Mama (3:50)
03. Tell Me A Bedtime Story (5:04)
04. Oh! Oh! Here He Comes (4:08)
05. Jessica (4:13)
06. Fat Albert Rotunda (6:30)
07. Lil Brother (4:30)
08. Ostinato (Suite For Angela) (13:09)
09. Youll Know When You Get There (10:14)

CD2:
 
01. Wandering Spirit Song (21:27)
02. Sleeping Giant (Parts 1-5) (24:38)
03. Quasar (7:23)
04. Water Torture (13:56)

None can argue that Herbie Hancocks Blue Note recordings are mostly jazz
milestones, the somewhat overlooked Warner Bros. period remains one of his most
creatively adventurous, and enduring. The three albums presented here all offer
different sides of Hancock after he left Miles Davis. All are presented here in
their entirety, with copious notes by Bob Blumenthal, who interviewed Hancock
for the package. The set begins with the wildly joyous, deep, funky groove of
Fat Alberts Groove, the music Hancock recorded for Bill Cosbys Saturday morning
cartoon show. These seven tracks, with their three-horn front line (originated
for Hancock on his final Blue Note album, Speak Like a Child) of Joe Henderson
on flute and tenor, Johnny Coles trumpet, and Garnett Browns trombone, are
singing, lyrical funk grooves that predated Headhunters by a few years and swung
way harder by sticking back and lying in the groove as much as possible.
Hancocks electric piano teamed with Tootie Heath and Buster Williams to form an
unbeatable, gutsy, and stomping rhythm section. The band was fleshed out on a
couple of tracks by additional horns, additional drums and percussion, and
electric guitars. After such a melodic entry, Warners executives must have been
shocked when Hancock brought them the abstract funkified impressionism of his
emerging Mwandishi band on its selftitled offering. Comprised of three long
tracks, the album showcased Hancocks use of free jazz and long intervallic
inventions on modal frames. Only Buster Williams remained from the previous set.
The rest of the sextet includes Billy Hart, Eddie Henderson, Julian Priester,
and Bennie Maupin. also This same band with the addition of a few sidemen
recorded the Crossings with the addition of synthesizer player Patrick Gleeson.
This final record sank from the market like a stone; it found some success a
year later, after Hancock had moved to Columbia, to issue Sextant and then
Headhunters. Crossings melds street music, modal jazz and the expansive sonic
approach of Sun Ra fom this same period; its approach keeps jazz close to the
street while fully exploring the varying tonal and rhythmic changes that were
going on post-Coltrane. Again, only three tracks appear, though the first is a
long, brazen expressionistic suite (Sleeping Giant). The musical evolution
present in this double set reveals the composer, arranger, and pianist as a
large scale visionary.~Thom Jurek