Herbie Hancock's whole career is about innovation, creativity, and fusion. 

He is a child prodigy on the piano, trained in classical music. By the early 1960s, he joins trumpeter Donald Byrd's band, later the Miles Davis Quintet, and he gets introduced to the world of jazz through his work with MD on iconic albums like "Miles Smiles" and "Kind of Blue".

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The early 70s is when there is a significant turning point in Herbie Hancock's career. In many of the interviews for this period and his pivotal role in the development of jazz-funk, he explains himself and the period as:

The kind of music I had been playing before was very far-out space music, untethered. And I got a little tired of it. I wanted to do something that was a little more earthy. And the funny thing was, I had been listening to people like Sly Stone and James Brown, but playing music that was very far removed from that.

… and, all of sudden, I'm starting to hear that song "Thank You (Falettinme Be Mice Elf Agin)" — Sly Stone. I had this picture in my head of me being in Sly Stone's band, playing this funky music. All of a sudden, I started thinking of my band playing this funky music. So I made a change in my life at that point. And I decided that this is something I want to explore.

1973 seems like a very busy year for HH. By the first half of the year, "Sextant" is released—sort of a “demo” of HH’s willingness to experiment with different and avant-garde sounds. Sextant isn’t a commercial success then, but it plays a significant role in the evolution of jazz-funk and is considered a classic in the realm of jazz fusion and electronic jazz today. The experimentation with synthesizers and electronic effects is an indication of what is to come: the fusion of jazz and electronic music of the 1980s.

The same year, HH composes the soundtrack for the 73 film "The Spook Who Sat by the Door." The film, based on the novel by Sam Greenlee, addresses themes of African American empowerment and revolution. The music HH creates for this soundtrack falls into various genres, including jazz, funk, and soul—very much in line with his versatility as a musician, of course.

This very same year, David Rubinson, who manages both HH and the Pointers Sisters, arranges for Pointers to open for HH, and “the immediate ecstatic reaction from the crowd and their wanting for more” is only a confirmation for HH “to find a way to reach a wider and more enthusiastic audience”. And so comes the “Head Hunters”—the groundbreaking album, the game-changer in the world of jazz-funk! Joined by a stellar lineup of musicians, including Bennie Maupin on saxophone, Paul Jackson on bass, Harvey Mason on drums, and Bill Summers on percussion, HH crafts a revolutionary sound that blends jazz improvisation with funk rhythms and electronic textures. Together, they push the boundaries of musical innovation and create an album that plays such a crucial role in bringing the genre into the mainstream.

The album's title track, "Chameleon," becomes an instant classic and is still celebrated for its infectious groove and innovative use of electronic instruments. HH doesn’t want guitar, but rather prefers the use of the clavinet, handles all synthesizer parts himself and this marks a shift in the sonic landscape of jazz.
"Head Hunters" becomes a commercial and critical success. It is one of the best-selling jazz recordings and the first to go platinum.

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Apart from its importance for the jazz-funk genre, the album is special to my heart due to the collaboration with one of my favorite graphic designers, the legendary Victor Moscoso.
The album cover design of “Head Hunters” belongs to VM, who is one of the most fascinating graphic designers, well-known particularly for his work in psychedelic poster art (some call them “moving posters” because they are kinetic lithographs with a blurred line between static image and moving picture when placed under the projection lights in the dance halls).
Victor Moscoso's design for HH’s "Head Hunters" album cover is visually captivating, with bright pairs of colors making the image seem to vibrate!

Head Hunters is the first platinum-selling jazz album, with 4 tracks (41 minutes long)—so only few tracks to select from. Though “Chameleon” is one of the most widely recognized jazz standards, all four tracks are so popular and I would choose “Vein Melter” as my favorite: it has a very slow and soft start, gradually building in intensity and complexity as it progresses — a true testament to Herbie Hancock's mastery of musical storytelling.

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Gülben - 03/2024

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🎶 Genre: Jazz-Funk

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