"In early 1963, Davis formed a new band, which included George Coleman (ts) and Ron Carter (b). When Davis entered the studio, he added drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on with Davis. It's easy to see why Davis liked Feldman, who contributed the dancing title tune and "Joshua": the pianist plays with an elegant, refined touch and the kind of rarefied voicings that suggest Ahmad Jamal. Davis responds with some of his most introspective, romantic ballad playing. When Davis returned to New York, he spotted the brilliantly gifted 17-year-old drummer Tony Williams. On the title tune you can already hear the difference, as his crisp, driving cymbal beat and jittery, aggressive syncopations propel Davis into the upper reaches of his horn. On "So Near, So Far" the drummer combines with Carter and new pianist Herbie Hancock to expand on a light Afro-Cuban beat with a series of telepathic changes in tempo, texture, and dynamics." (Allmusic; 4,5 uit 5 sterren)
"De in 2011 door Sony begonnen reeks "The Bootleg Series", met vooral niet eerder uitgebrachte (live)opnamen van de trompettist, heeft al veel aandacht geschonken aan wat tussen 1964 en 1968 Davis’ tweede kwintet was. Op dit achtste deel (6 CD’s) staan vier complete concerten, opgenomen in Frankrijk in de jaren dat de Amerikaan nog zoekende was naar de juiste tenorsaxofonist. Davis had zijn nieuwe ritmesectie al compleet (Herbie Hancock, Ron Carter en Tony Williams), maar een echt goede opvolger voor John Coltrane had hij niet gevonden, totdat eind 1964 eindelijk de door hem gewenste Wayne Shorter beschikbaar was. CD 5 en 6 bevatten diens eerste concerten met Davis, opgenomen in Parijs, in oktober 1964. Hoewel nog duidelijk zoekend naar de juiste vorm, is Shorters spel inventiever dan dat van zijn voorganger George Coleman op de eerste 4 CD’s. Die speelde diep en soulvol, maar had moeite met het bijbenen van de ritmesectie. Maar tsjonge, wat speelde dit kwintet ook met Coleman toch geweldig." (Volkskrant)
""Takin' Off" was an impressive debut effort from Hancock, and this second record proved that it was no fluke. He took two risks with the album - his five original compositions covered more diverse stylistic ground than his debut, and he assembled a large septet for the sessions; the band features such stellar musicians as Donald Byrd (t), Hank Mobley (ts), Tony Williams (d), Grant Green (g), Chuck Israels (b), and Grachan Moncur III (tmb). It's a rare occasion that all musicians appear on the same track, which speaks well for the pianist's arranging capabilities. Hancock knows how to get the best out of his songs and musicians, which is one of the reasons why "My Point of View" is a captivating listen. The other is the sheer musicality of the album. Hard bop remains the foundation for Hancock's music, but he explores its limitations, finding its soulful side, its probing, adventurous leanings and its ballad side. It's a little more relaxed than "Takin' Off", but nearly as stunning." (S.T. Erlewine, Allmusic)
"No, you're not in Creed Taylor country yet, but you might as well be, for many of the ingredients that would garnish Benson's albums with Taylor are already present in this often enjoyable prototype. The immediate goal was to groom Benson as the next Wes Montgomery (who was about to leave Verve) -- and so he covers hit tunes of the day ("Sunny," "Along Comes Mary," "Groovin'"), playing either with a big band plus voices or a neat quintet anchored by Herbie Hancock, and the sound is contoured to give his guitar a warm mellow ambience. But the eclectic Benson is his own man, as his infectious repeated-interval rhythm trademark tells us on his self-composed title track, and despite Tom McIntosh's mostly lame arrangements, George's work is always tasty and irresistibly melodic." (Richard S. Ginell, Allmusic; 4 uit 5 sterren)
Mitchell's appearance at the Bread & Roses Festival in Berkeley on September 15, 1978 was the first time she'd appeared live since playing at "The Last Waltz" in 1976 with The Band. Recorded by radio station WBUR, the performance caught Mitchell's music in a state of flux. Joined by Jazz legend Herbie Hancock, two tracks from the forthcoming "Mingus" album were given their first ever airing. (bron: Burning Shed) Overigens is zeker in de eerste nummers duidelijk te horen dat de brontape schade heeft opgelopen. Er is wat storing te horen, maar dat maakt de opname er niet minder interessant en beluisterenswaardig op. De bonus bestaat uit twee opnamen voor de Coast To Coast TV Show uit 1987.
Album pick op Allmusic: "This unusual set (reissued on CD by Blue Note) was one of the most successful uses of a gospel choir in a jazz context. Trumpeter Donald Byrd and a septet that also includes tenor saxophonist Hank Mobley, guitarist Kenny Burrell, and pianist Herbie Hancock are joined by an eight-voice choir directed by Coleridge Perkinson. The arrangements by Duke Pearson are masterful and one song, "Cristo Redentor," became a bit of a hit. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd's career." (Scott Yanow, Allmusic)
"The first V.S.O.P. tour triggered a flood of recording activity in July 1977. This session, recorded in San Francisco just days before the Quintet concerts in Berkeley and San Diego, finds Herbie Hancock, Ron Carter, and Tony Williams mixing it up sans the horns -- and the results are more reflective and cerebral than the full Quintet concerts. Hancock is thoroughly in control of the agenda while Williams throws in those meter-fracturing flurries that keep everyone on their toes. There is a startling re-interpretation of "Speak Like A Child," which is significantly tougher and busier than the wistful Blue Note version, as well as challenging Hancock originals like "Watcha Waiting For" and "Watch It." This is uncompromising acoustic jazz, commercial anathema in the electronic '70s -- and thus, only Japan got to hear it back then." (Richard S. Ginell, Allmusic; 4 uit 5 sterren) De rest van de wereld kreeg het later overigens wel te horen, bijv. via deze Wounded Bird-heruitgave uit 2014.
"This session is best known for introducing Lee Morgan's beautiful ballad "Ceora," but actually all five selections (which include Morgan's "Cornbread," "Our Man Higgins," "Most Like Lee," and the standard "Ill Wind") are quite memorable. The trumpeter/leader performs with a perfectly complementary group of open-minded and talented hard bop stylists (altoist Jackie McLean, Hank Mobley on tenor, pianist Herbie Hancock, bassist Larry Ridley, and drummer Billy Higgins) and creates a Blue Note classic that is heartily recommended." (Scott Yanow, Allmusic)
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