New Herbie Hancock

[Joe M]

Am I the only one who really dislikes it when "industry" people refer to jazz musicians as "acts"?

[Guest youmustbe]

It's just a word. Just shorthand. Are you familiar with the Art world?...I used to work in a gallery that sold all the high priced paintings, and the owner used to refer to them as 'pieces'. He would say to a prospective customer, 'I have a wonderful piece by Matisse, it's only 100,000'. He would not say 'painting'. Used to drive me crazy, just like you with 'acts'. But every field has it's shorthand.

[ejp626]

Someone loaned this to me -- in fact pushed it on me as I tried to demure. I feel it is every bit as bad as I expected. A total mishmash, with more than a little sounding new Agey. And on a few tracks, particularly the Santana and Johnny Lang, Herbie is completely buried under the guitar for long stretches. Not a good disc at all. Oh well, maybe next time.

[Jazz Kat]

I just do not dig this shit. I don't think you approach something with the attitude, to not make a jazz record as Herbie did. It's all music and if it's good, it's good. But this album is just shit.

[GregN]

Someone loaned this to me -- in fact pushed it on me as I tried to demure.  I feel it is every bit as bad as I expected.  A total mishmash, with more than a little sounding new Agey.  And on a few tracks, particularly the Santana and Johnny Lang, Herbie is completely buried under the guitar for long stretches.  Not a good disc at all.  Oh well, maybe next time.

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"And on a few tracks, particularly the Santana and Johnny Lang, Herbie is completely buried under the guitar for long stretches. "

Keyboardists should always be in that position, imo. JUST KIDDIN'

[Kari S]

Did anyone catch Herbie's and Aguilera's performance on Leno? I did and needless to say, I was squirming in my seat. Herbie started the song in free tempo, and the drummer messed up his entrance and was desperately trying to find the beat. Chrissy's vocal acrobatics were more than excruciating, they were all over the place and basically destroyed the song. I also noticed that Hancock has started to "sing" along to his playing, Jarrett-style. This is also audible on the Starbucks cd.

[neveronfriday]

Did anyone catch Herbie's and Aguilera's performance on Leno? I did and needless to say, I was squirming in my seat. Herbie started the song in free tempo, and the drummer messed up his entrance and was desperately trying to find the beat. Chrissy's vocal acrobatics were more than excruciating, they were all over the place and basically destroyed the song. I also noticed that Hancock has started to "sing" along to his playing, Jarrett-style. This is also audible on the Starbucks cd.

←

Sounds like a true horror show.

[bertrand]

I missed the first part of this, but caught then ending. It indeed sucked, plus I always hated that song.

A couple of questions:

1. Who is that drummer? He sounds unworthy to play with Herbie.

2. Does Aguliera always masturbate the microphone like that? I was expecting it to squirt any minute.

Bertrand.

Edited October 25, 2005 by bertrand

[CJ Shearn]

Kari, Herbie's always sung along or "groaned" when he plays more often than not you can hear it off mike. You can REALLY hear it on the track "Mojuba" from "Dis is Da Drum".

[JSngry]

I actually bought this album.

Had a gig in San Antonio this past Sunday night, and stopped at a Starbucks in Temple on the way down. I figured that since I was already paying four bucks for a cup of coffee, I might as well pay sixteen bucks for a CD. So, against all better instincts, I bought the new Herbie CD.

I have to admith that I was disappointed at how much it didn't suck, at least as a collection of modern, musically literate pop music. Quite a few of the cuts made for pleasant, at times absorbing (in the pop sense) listening. The singers nearly all sounded like they were too young and too self-conscious, but hell, that's the way musically literate pop music's mostly been for the last 20 or so years. Maybe even longer. I let it play three times through as I moved on down I-35 and never got even remotely pissed off, not even at Christina Arugula's hyperactive vocal acrobatics (they're much more focused on the CD than they've been on the TV appearanceces).

The thing is, there's not that much on here that distinguishes this as a Herbie Hancock record. If this would've been released as a Various Artists "The Sounds Of Starbucks" type thing, with the profits going towards hurricane relief, or something like that, I don't think that anybody would be freaking out or anything, and perhaps some of the people who are tending towards apoplexy might even enjoy the some/most of the music on this CD. It's the name "Herbie Hancock" that creates certain expectations and disappointments for listeners, including myself, out of this album.

Is that fair? Well, yeah, sure. "Herbie Hancock" is not a name without a history, albeit a broad and quite diverse one. Looking at the credits, i was struck by how much collaboration and borrowing there was on this album. Production, arranging, songwriting, etc., it's almost all done in conjuction with somebody else. The most musically interesting thing on the side is, believe it or not, "I Just Called To Say I Love You", a damn-near brilliant reharmonization of Stevie Wonder's most trite "major hit" ever. The way the harmonies are altered totally changes the meaning of those tripey lyrics and makes for a really, really absorbing listen. But looking at the credits, one sees that the arrangement was a collaboration between Herbie & the wonderfully talented Greg Phillingames. Now, the harmonies have "HERBIE!!!" written all over them, but who knows?

Same thing with the version of "I Do It For Your Love" - very nice arrangement, dar and moody, with some really fat and dark chords creating a very non-trite vibe. It definitely sounds like it could have come from Herbie's mind. But guess who actually contributed the arrangement? Paul Simon his ownself! So, I'm left asking myself, just what did Herbie actually do for this album besides allow himself to be "positioned" as the leader and, probably, throw in some ideas along the way? I expect more from the guy than that, and I'm not sure that there's anything more to it than that here.

On the other hand, however...

As stated earlier, there is a lot of mucial literacy on display here, and a lot of really good, solid grooves in the service of that musical literacy. Those who are desperately searching for a respite from all the prefab, formulaic, empty bullshit that passes for "pop music" these days can find a plethora of relief in the music heard on this album. And, if lots of people are buying it (and it appears that they are), then lots of people will be hearing it. Whether or not they'll get it or not is another matter, but Pop Music has always been a crapshoot as far as that goes.

But - fans of Joss Stone & Johnny Lang, to use but one example, who pick this one up will be treated to their heroes basically empty singing being served up over a deep grove that recall both the Herbie of Manchild as well as vintage (mid-70s) Crusaders. Should they ever hear the real thing at some future date, something might click inside them, and they might listen a little closer, have their curiosity aroused, and take it from there. Or not. You never know. The album is, after all, called Possibilities.

Don't believe the hype - in terms of what it is, rather than who it's supposed to be, this is in no way a bad record. Far from it in fact. That "who it's supposed to be" part is tricky, though. For me, I'm treating it like I did that $4 vente Vanilla Latte on that road trip - as a pleasant stimulation on the way to other things that will be forgotten as soon as it wears off, but one that was good enough while it lasted.

[DukeCity]

I gotta concur with Sngry's post above. I too bought this at a Starbucks last weekend, in the middle of a road trip. And I noticed how many of the tunes have a collaborative production team. I keep thinking that, since it doesn't really feel like a Herbie album per se, it seems like Herbie's role is kinda like if Quincy Jones had done something like this 15 or 20 years ago.

Jazz Kat wrote "I don't think you approach something with the attitude, to not make a jazz record as Herbie did." But I think that not calling it a 'jazz' record mostly means that these tunes aren't intended to be vehicles for improvisation. They're produced with a pop sensiblity and a little Herbie hipness thrown in.

So, my verdict is that the record is well-produced, with some musical moments. And if you are one who would not buy CDs by any of the singers featured on this record, it seems ludicrous to think you would suddenly dig the singers' work just because Herbie's name appears on the cover.

[bertrand]

Wasn't it determined that Stevie Wonder stole "I Just Called..." from some unknown aspiring songwriter?

I know there are always claims like that, but I think this one actually was verified.

Bertrand.

Edited October 25, 2005 by bertrand

[Guest]

I actually bought this album.

Had a gig in San Antonio this past Sunday night, and stopped at a Starbucks in Temple on the way down. I figured that since I was already paying four bucks for a cup of coffee, I might as well pay sixteen bucks for a CD. So, against all better instincts, I bought the new Herbie CD.

I have to admith that I was disappointed at how much it didn't suck, at least as a collection of modern, musically literate pop music. Quite a few of the cuts made for pleasant, at times absorbing (in the pop sense) listening. The singers nearly all sounded like they were too young and too self-conscious, but hell, that's the way musically literate pop music's mostly been for the last 20 or so years. Maybe even longer. I let it play three times through as I moved on down I-35 and never got even remotely pissed off, not even at Christina Arugula's hyperactive vocal acrobatics (they're much more focused on the CD than they've been on the TV appearanceces).

The thing is, there's not that much on here that distinguishes this as a Herbie Hancock record. If this would've been released as a Various Artists "The Sounds Of Starbucks" type thing, with the profits going towards hurricane relief, or something like that, I don't think that anybody would be freaking out or anything, and perhaps some of the people who are tending towards apoplexy might even enjoy the some/most of the music on this CD. It's the name "Herbie Hancock" that creates certain expectations and disappointments for listeners, including myself, out of this album.

Is that fair? Well, yeah, sure. "Herbie Hancock" is not a name without a history, albeit a broad and quite diverse one. Looking at the credits, i was struck by how much collaboration and borrowing there was on this album. Production, arranging, songwriting, etc., it's almost all done in conjuction with somebody else. The most musically interesting thing on the side is, believe it or not, "I Just Called To Say I Love You", a damn-near brilliant reharmonization of Stevie Wonder's most trite "major hit" ever. The way the harmonies are altered totally changes the meaning of those tripey lyrics and makes for a really, really absorbing listen. But looking at the credits, one sees that the arrangement was a collaboration between Herbie & the wonderfully talented Greg Phillingames. Now, the harmonies have "HERBIE!!!" written all over them, but who knows?

Same thing with the version of "I Do It For Your Love" - very nice arrangement, dar and moody, with some really fat and dark chords creating a very non-trite vibe. It definitely sounds like it could have come from Herbie's mind. But guess who actually contributed the arrangement? Paul Simon his ownself! So, I'm left asking myself, just what did Herbie actually do for this album besides allow himself to be "positioned" as the leader and, probably, throw in some ideas along the way? I expect more from the guy than that, and I'm not sure that there's anything more to it than that here.

On the other hand, however...

As stated earlier, there is a lot of mucial literacy on display here, and a lot of really good, solid grooves in the service of that musical literacy. Those who are desperately searching for a respite from all the prefab, formulaic, empty bullshit that passes for "pop music" these days can find a plethora of relief in the music heard on this album. And, if lots of people are buying it (and it appears that they are), then lots of people will be hearing it. Whether or not they'll get it or not is another matter, but Pop Music has always been a crapshoot as far as that goes.

But - fans of Joss Stone & Johnny Lang, to use but one example, who pick this one up will be treated to their heroes basically empty singing being served up over a deep grove that recall both the Herbie of Manchild as well as vintage (mid-70s) Crusaders. Should they ever hear the real thing at some future date, something might click inside them, and they might listen a little closer, have their curiosity aroused, and take it from there. Or not. You never know. The album is, after all, called Possibilities.

Don't believe the hype - in terms of what it is, rather than who it's supposed to be, this is in no way a bad record. Far from it in fact. That "who it's supposed to be" part is tricky, though. For me, I'm treating it like I did that $4 vente Vanilla Latte on that road trip - as a pleasant stimulation on the way to other things that will be forgotten as soon as it wears off, but one that was good enough while it lasted.

←

Agreed. The disc doesn't suck, it's mediocre. What sucks is that a talent like Herbie Hancock continues to waste his limited remaining productive years making mediocre material. Didn't he invest any of his millions? Why is he still doing this stuff?

[md655321]

Because he likes it.

I know deep jazzers like us get all offended when someone likes pop music, or god forbids makes pop music. Herbie has said and shown many times that he enjoys making pop music. He just did a couple years of acoustic jazz with the Directions in Music band, so now he wants to make his pop record.

[Guest]

Because he likes it.

I know deep jazzers like us get all offended when someone likes pop music, or god forbids makes pop music.  Herbie has said and shown many times that he enjoys making pop music.  He just did a couple years of acoustic jazz with the Directions in Music band, so now he wants to make his pop record.

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But I'm not opposed to his crossing over, per se. Jazz is only one of my musical interests -- I own more rock and pop albums than jazz albums (a function of getting into jazz later, but still). I think Headhunters, Thrust and Man Child are all very good albums. I even like Secrets. I think Future Shock is very good, too. I think his "New Standards" album was very well done. But to pull a Carlos Santana as he did... I'm sorry, this wasn't done "because he likes it," it was a very calculated move designed to sell CDs. More energy appears to have gone into the packaging and marketing of this thing than there was creative energy expended in making it, and that's just sad.

[Alexander]

Because he likes it.

I know deep jazzers like us get all offended when someone likes pop music, or god forbids makes pop music.  Herbie has said and shown many times that he enjoys making pop music.  He just did a couple years of acoustic jazz with the Directions in Music band, so now he wants to make his pop record.

←

But I'm not opposed to his crossing over, per se. Jazz is only one of my musical interests -- I own more rock and pop albums than jazz albums (a function of getting into jazz later, but still). I think Headhunters, Thrust and Man Child are all very good albums. I even like Secrets. I think Future Shock is very good, too. I think his "New Standards" album was very well done. But to pull a Carlos Santana as he did... I'm sorry, this wasn't done "because he likes it," it was a very calculated move designed to sell CDs. More energy appears to have gone into the packaging and marketing of this thing than there was creative energy expended in making it, and that's just sad.

←

C'mon, guys. We all spend a ton of money on the stuff, but we all know that very few people will ever get *rich* off of jazz. Herbie's one of the lucky few who makes a very good living off of it, but even he has to hock stereo equipment on late-night TV. As much as Herbie has "crossed-over" in to pop and funk in the past, very few of those albums could be called "commercial." "Possibilities," on the other hand, is VERY commerical. But who will begrudge the man a living? He just wants to get paid for making music...

[RDK]

Because he likes it.

I know deep jazzers like us get all offended when someone likes pop music, or god forbids makes pop music.  Herbie has said and shown many times that he enjoys making pop music.  He just did a couple years of acoustic jazz with the Directions in Music band, so now he wants to make his pop record.

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[Guest]

Because he likes it.

I know deep jazzers like us get all offended when someone likes pop music, or god forbids makes pop music.  Herbie has said and shown many times that he enjoys making pop music.  He just did a couple years of acoustic jazz with the Directions in Music band, so now he wants to make his pop record.

←

But I'm not opposed to his crossing over, per se. Jazz is only one of my musical interests -- I own more rock and pop albums than jazz albums (a function of getting into jazz later, but still). I think Headhunters, Thrust and Man Child are all very good albums. I even like Secrets. I think Future Shock is very good, too. I think his "New Standards" album was very well done. But to pull a Carlos Santana as he did... I'm sorry, this wasn't done "because he likes it," it was a very calculated move designed to sell CDs. More energy appears to have gone into the packaging and marketing of this thing than there was creative energy expended in making it, and that's just sad.

←

C'mon, guys. We all spend a ton of money on the stuff, but we all know that very few people will ever get *rich* off of jazz. Herbie's one of the lucky few who makes a very good living off of it, but even he has to hock stereo equipment on late-night TV. As much as Herbie has "crossed-over" in to pop and funk in the past, very few of those albums could be called "commercial." "Possibilities," on the other hand, is VERY commerical. But who will begrudge the man a living? He just wants to get paid for making music...

←

So now it's OK to make blatantly commercial recordings with no regard for your art? Well... fine, if you want to be considered an "artist" on the same level as an American Idol winner. HH has sold millions of albums; if he's hocking stereo equipment, he's doing it because he's greedy, not because he's needy.

[Guy Berger]

C'mon, guys.  We all spend a ton of money on the stuff, but we all know that very few people will ever get *rich* off of jazz.  Herbie's one of the lucky few who makes a very good living off of it, but even he has to hock stereo equipment on late-night TV.  As much as Herbie has "crossed-over" in to pop and funk in the past, very few of those albums could be called "commercial."  "Possibilities," on the other hand, is VERY commerical.  But who will begrudge the man a living?  He just wants to get paid for making music...

←

Maybe he's trying to feed Latrell Sprewell's kids.

Guy

[Mr. Gone]

HH has sold millions of albums; if he's hocking stereo equipment, he's doing it because he's greedy, not because he's needy.

So what.

[Ragu]

I have nothing against a jazzbo (even a legend) making a pop album or a popper making a jazz album but in the end the music has to cut it on the new playing field and I think Herbie made a lame Pop album and Jamie Cullum and Michael Buble make lame fauz jazz. If you like em...go ahead on with your bad self.

[Kari S]

Here's Herbie with his Ferrari 360 Spider, probably in front of his LA house, and a Korg Oasys... Check out that smile!

(from Korg's website, click for larger)