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Like this: Like Loading About indamixworldwide Articles. All Rights Reserved. Sorry, your blog cannot share posts by email. Monday 14 October Tuesday 15 October Wednesday 16 October Thursday 17 October Friday 18 October Saturday 19 October Sunday 20 October Monday 21 October Tuesday 22 October Wednesday 23 October Thursday 24 October Friday 25 October Saturday 26 October Sunday 27 October Monday 28 Herbie Hancock Stars In Your Eyes Tuesday 29 October Herbie Hancock Stars In Your Eyes Wednesday 30 October Thursday 31 October Friday 1 November Saturday 2 November Sunday 3 November Monday 4 November Tuesday 5 November Wednesday 6 November Thursday 7 November Friday 8 November Saturday 9 November Sunday 10 November Monday 11 November Tuesday 12 November Wednesday 13 November Thursday 14 November Friday 15 November Saturday 16 November Sunday 17 November Monday 18 November Tuesday 19 November Wednesday 20 November Thursday 21 November Friday 22 November Saturday 23 November Sunday Herbie Hancock Stars In Your Eyes November Monday 25 November Tuesday 26 November Wednesday 27 November Thursday 28 November Friday 29 November Saturday 30 November Sunday 1 December Monday 2 December Tuesday 3 December Wednesday 4 December Thursday 5 December Friday 6 December Herbie Hancock Stars In Your Eyes Saturday 7 December Sunday 8 December Monday 9 December Tuesday 10 December Wednesday 11 December Thursday 12 December Friday 13 December Saturday 14 December Sunday 15 December Monday 16 December Tuesday 17 December Wednesday 18 December Thursday 19 December Friday 20 December Saturday 21 December Sunday 22 December Monday 23 December Tuesday 24 December Hancock often mentions Anderson as his harmonic guru.
Hancock left Grinnell one course short of graduation inHerbie Hancock Stars In Your Eyes to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. Grinnell awarded Hancock an honorary Doctor of Fine Arts degree in The pianist Herbie Hancock Stars In Your Eyes earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods.
Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band. Miles Davis quintet and Blue Note Hancock received considerable attention when, in May , he joined Miles Davis' "second Herbie Hancock Stars In Your Eyes quintet. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, seventeen year old drummer Tony Williams, and Hancock on piano.
After George Coleman and Sam Rivers each taking turns at Herbie Hancock Stars In Your Eyes saxophone spot, the quintet would gel with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been especially praised for its innovation and flexibility. The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use common chords, he Herbie Hancock Stars In Your Eyes popularized chords then rarely used in jazz.
Hancock also developed a unique taste for "orchestral" accompaniment - using fourths and Debussy-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he would weave a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes.
In the later half of the sixties their approach would be so sophisticated and unorthodox that conventional chord changes would hardly be discernible, hence their improvisational concept would become known as "Time, No Changes. His albums Empyrean Isles and Maiden Voyage were to be two of the most famous and influential jazz LPs of Herbie Hancock Stars In Your Eyes sixties, winning praise for both their innovation Herbie Hancock Stars In Your Eyes accessibility the latter demonstrated by the subsequent enormous popularity of the Maiden Voyage title track as a jazz standard, and by the jazz rap group US3 having a hit single with "Cantaloop" derived from "Cantaloupe Island" on Empyrean Isles some twenty five years later.
Both albums are regarded as among the principal foundations of the post-bop style. Hancock also recorded several less-well-known but Herbie Hancock Stars In Your Eyes critically acclaimed albums with larger Herbie Hancock Stars In Your Eyes — My Point of ViewSpeak Like a Child and The Prisoner featured flugelhorn, alto Herbie Hancock Stars In Your Eyes and Stefan Grossman Ritratto DAmerica trombone.
During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup which was to be the first of many soundtracks he would record in his career. Davis had begun incorporating elements of Herbie Hancock Stars In Your Eyes and popular music into his recordings by the end of Hancock's tenure with the band.
Despite Herbie Hancock Stars In Your Eyes initial reluctance, Hancock Herbie Hancock Stars In Your Eyes doubling on electric keyboards including the Fender Rhodes electric piano Herbie Hancock Stars In Your Eyes Davis's insistence.
Hancock adapted quickly to the new instruments, which proved to be instrumental in his future artistic endeavors. Under the pretext that Hancock returned late from a honeymoon in Brazil, he was kicked out of Davis' band. So in the summer of Hancock formed his own sextet. Davis would soon disband his quintet to search for Herbie Hancock Stars In Your Eyes new sound.
Hancock though, despite his departure from the working band, continued to appear on Miles Davis records for the next few years.
One of the jazzier songs on the record, "Tell Me A Bedtime Story", was later re-worked as a more electronic sounding song for the Quincy Jones album, Sounds Hancock was fascinated with accumulating musical gadgets and toys. Together with the profound influence of Davis's Bitches Brew, this fascination would culminate in a series of albums in which electronic instruments are coupled with acoustic instruments.
Hancock's first ventures into electronic music started with a sextet comprising Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of adventurous horn players: Eddie Henderson trumpetJulian Priester tromboneand multireedist Bennie Maupin.
Patrick Gleeson was eventually added to Beverly Glenn Copeland Together For Us All Color Of Anyhow mix to play and program the synthesizers. In fact, Hancock was one of the first jazz pianists to completely embrace electronic keyboards.
The sextet, later a septet with the addition of Gleeson, made three experimental albums under Hancock's name: MwandishiCrossings both on Warner Bros.
Recordsand Sextant released on Columbia Records ; two more, Realization and Inside Out, were recorded under Henderson's name with essentially the same personnel. The music often had very free improvisations and showed influence from the electronic music of some contemporary classical composers. On Crossings as well as on I Sing the Body Electricthe synthesizer is used more as an improvisatory global orchestration device Herbie Hancock Stars In Your Eyes as a strictly melodic instrument.
This reflected Gleeson's and Powell's interest in contemporary European electronic music techniques and in the West Coast synthesis techniques of Morton Subotnick and other contemporaries, several of whom were resident at one time or another, as was Gleeson, at The Mills College Tape Music Flying Lotus LA EP 1 X 3. An early review of Crossings in Downbeat magazine complained about the synthesizer, but a few years later the magazine noted in a cover story on Gleeson that he was "a pioneer" in the field of electronics in jazz.
In the albums following The Crossings, Hancock started to play synth himself and unlike Gleeson, he plays it The Radha Krsna Temple The Radha Krsna Temple a melodical and rhythm instrument just like electric pianos.
Hancock's three records released in became later known as the "Mwandishi" albums, so-called after a Swahili name Hancock sometimes used during this era Mwandishi is Swahili for writer. Recordings, released inbut are now sold as individual CD editions. All three Warner Bros. In the Winter of a remastered edition of Crossings was announced and scheduled for release in the Spring.
Head Hunters and Death Wish See also: The Headhunters After the sometimes "airy" and decidedly experimental "Mwandishi" albums, Hancock was eager to perform more Herbie Hancock Stars In Your Eyes and "funky" music. The Mwandishi albums — though these days seen as respected early Herbie Hancock Stars In Your Eyes recordings — had seen mixed reviews and poor sales, so it is probable that Hancock was motivated by financial concerns as well as The 13th Floor Elevators The Psychedelic Sounds Of restlessness.
Hancock was also bothered by the fact that many people did not understand avant-garde music. He explained that he loved funk music, especially Herbie Hancock Stars In Your Eyes Stone's music, so he wanted to try to make funk himself. He gathered a new band, which he called The Headhunters, keeping only Maupin from the sextet and adding bassist Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason.
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