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Jackson co-wrote its lead track, "Chameleon." The band performed on Soul Train, and "Chameleon" became a jazz standard. The relentlessly funky Head Hunters, inspired more by Sly and the Family Stone than by Hancock's onetime boss Miles Davis, became the best-selling jazz album of all time on release - cracking the Top 20 on the Billboard album chart. He can be heard on all four Headhunters albums under Hancock's direction: 1973's Head Hunters, 1974's Thrust, 1975's Man-Child, and the 1975 live LP Flood. Jackson's playing both tethered the band to the ground and encouraged it to take flight. His insistent, conversational electric bass lines propelled Headhunters - with Hancock on keyboards, Bennie Maupin on saxophone, Bill Summers on percussion, and either Clark or Harvey Mason on drums - to the furthest reaches of rapturous jazz-funk. But he is undeniably best known for his association with Hancock, which lasted through most of the '70s. Jackson worked as a sideman with a wide variety of artists, from Santana and the Pointer Sisters to the jazz saxophonists Stanley Turrentine and Sonny Rollins. His death was confirmed on social media by his longtime musical associate, drummer Mike Clark. Jim Horn – saxophone, flute Ernie Watts – saxophone, fluteīlackbird McKnight – guitar David T.Paul Jackson, who as bassist for Herbie Hancock's Headhunters helped secure the first million-selling jazz album, died on March 18 in Japan, where he had lived since 1985. Garrett Brown – trombone Dick Hyde – bass trombone, tubaīennis Maupin – soprano saxophone, tenor saxophone, saxello, bass clarinet, alto flute, bass flute
#HERBIE HANCOCK HEADHUNTERS MOVIE PRO#
Herbie Hancock – piano, Fender Rhodes, ARP Odyssey Pro Soloist 2600 synthesizers, Hohner D 6 clarinet Oberheim Polyphonic synthesizerīud Brisbois – trumpet Jay DaVersa – trumpet The front and back cover art by Nobuyuki Nakanishi is stunning, especially in 12” format, and the protected album sleeve is a nice touch. When a sharper instrumental tone is introduced (soprano saxophone, harmonica) it intermingles perfectly.
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The softer, blended synthesizers and Fender tonality is terrific. The multi-faceted, layered sound is expansive, but never fulsome. Speakers Corner has done a masterful job ire-mastering Man-Child to audiophile vinyl. Hancock is incendiary on Fender which seems the ideal instrument to develop fusion grooves. This is possibly the closest track to classic fusion instrumentation and arrangement. The finale, “Heartbeat” establishes a driving thump-like vamp with scratchy guitar positioned against gossamer synths. As a bonus, Stevie Wonder offers a trademark, virtuosic harmonica solo. There is a familiarity, like Earth Wind & Fire without vocals. Hancock percolates on extended Fender Rhodes runs in 2 solos. The arrangement is concise with punctuated horns and subtle rhythm changes. But on “Steppin’ In It”, the overall vibe is bigger, fuller, all-out Headhunters. Wayne Shorter contributes an understated, but effective solo on soprano saxophone. The swirling atmospherics counters the tight soul, guitar and “fat” bass. Side 2 “struts its stuff” beginning with the slower, but locked-down “Bubbles”. There are brief, muscular horn accents against synth strings that expand the soundscape. Hancock employs a variety of exotic synthesized tones and solos within the group context of the jam. Returning to the funk train, “The Traitor” utilizes familiar slap-bass riffs that propel the tight grooves in visceral hypnotic dynamics. A tuba (Dick Hyde) and percussion (Bill Summers) meshes perfectly. Hancock’s Fender Rhodes glows (with some echo) and the repeat vamp maintains the pulse. “Sun Touch” takes it down a notch with a gliding (and at times halting) rhythm. There are jazzy chord transitions, and a subtle, mellower piano interlude that offsets the r & b template. The layers of horns, reeds and synthesizer (including strings) envelop and stretch out the aural landscape. Paul Jackson’s electric bass sets up “Wah Wah” Watson’s nasty guitar hooks.
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Side 1 opens with a relentless flow on “Hang Up Your Han Ups”. This is not a free-form excursion into jazz fusion, it is a funk groove-fest. At the center of this is Hancock on Fender Rhodes, piano and all forms of synthesizer. There are multiple players on guitar, electric bass, drums, reeds and horns. The album was recorded in 1975 and featured a veritable all-star cadre of musicians (many of whom are part of Headhunters). Speakers Corner has released a dazzling re-mastered 180-gram vinyl of Herbie Hancock’s fusion classic, Man-Child.