Herbie Hancock was born in Chicago, Illinois on April 12, , and was a serious student of the piano as a child. By , Miles Davis beckoned, and for six years, Herbie blossomed, so that by , he could try his hand at bandleading. The Herbie Hancock Sextet lasted one year, and it was soon absorbed into the Mwandishi band Although Herbie had achieved artistic success with his Mwandishi band, it was not a financial success. The Headhunters were formed in , and their first album yielded a pop hit.
Chick Corea was born in Chelsea, Massachusetts on June 12, His father a trumpet player instilled his early musical instincts, and soon young Chick was adept at a few instruments piano and drums.
He gigged around Boston until he left for New York in He left Miles in August of to form the group Circle, and then he put together the first version of Return To Forever in After a brief return with Stan Getz , he assembled a hardcore electric group, calling it Return To Forever again.
But underneath this electric landscape was an acoustic volcano about to erupt. Keith Jarrett discovered that his solo acoustic piano performances not only sold well, but concerts were well attended. Herbie Hancock had become so popular that a retrospective of his career was put together, performed before a live audience and recorded by Columbia. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully.
Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying.
Rainy Day Relaxation Road Trip. This live album, a summit meeting of two keyboard geniuses, was recorded in at shows in Los Angeles, San Francisco and Ann Arbor, Michigan. The album marks the last time the two pianists recorded together. With both artists still selling lots of electric records then, it was feasible to do so — and the two double sets served as massive ripostes to those who accused the two pianists of abandoning jazz per se in favor of filthy electronic lucre.
Fortunately, there was enough worthwhile, often brilliant material on the tapes for both albums, with only one duplication of repertoire. For one thing, it clocks in seven and a half minutes shorter at 27 and a half minutes. Indeed, the Polydor album seems to have been programmed with more of a classical bent than its companion.
Tracklist: 1.
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