When I saw it, I immediately recognized the cover as the same cover that haunted me (quite literally!)
Unusual choices like beer bottles and the Voice Bag also featured in their instrumentation. It also analyzes reviews to verify trustworthiness.
All guitar-like parts were handled by Hancock on his first two albums with the group, with one exception: the "rhythm guitar" heard interacting with Hancock's synthesizer bass early in the track "Chameleon" is Jackson playing in the upper register of the bass guitar, as pointed out by Steven F. Pond in his book Head Hunters (2005). In 2008 a video, called Watermelon Man, was released in Germany of a concert recorded in Tokyo on August 2005 under the name Herbie Hancock's Headhunters featuring Hancock, Wah Wah Watson with Marcus Miller on electric bass guitar, Terri Lyne Carrington on drums, Lionel Loueke on electric guitar and vocals, Munyungo Jackson on percussion and Roy Hargrove on trumpet. In the sleeve notes to Head Hunters, Hancock wrote that track 3, "Sly", was named in tribute to Sly Stone, leader of Sly and the Family Stone.
It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).
Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. Maupin doesn’t just riff around on the blues scale; on the vastly underappreciated “Sly,” he goes far out, squeaking and running high and low on the soprano sax, bringing his ’60s avant-gardism back into the soundscape, all on a song named after funk master Sly Stone himself. He wanted to make a pure funk record.
By joycezhightower. It is impossible to capture the whole external life of the galactically important Head Hunters, what it touched, how it functioned, its shape in society, its place on the great cosmic map (though musicologist Steven Pond approaches totality in his peerless 2005 book on the album).
Right up there with the analogue productions 2x45rpm IMO.
Headhunters is a monumental release in Herbie Hancock’s career and a defining moment in jazz-funk. I am NOT a big fan of Jazz Fusion, but once in awhile, there are exceptions. But it was a sticking point for critics who called the great jazz piano player a pop sell-out. Herbie Hancock – Head Hunters (1973/2012)FLAC (tracks) 24 bit/96 kHz | Time – 41:46 minutes | 889 MB | Genre: JazzStudio Masters, Official Digital Download – Source: HDTracks.com | © Columbia/Legacy. This is one of the most endearing works in the jazz/funk legacy.
A satellite view of Head Hunters reveals a vast bazaar of cultures and genres, a complicated interchange of artistic and personal histories. Top subscription boxes – right to your door, Herbie Hancock / Michael Brecker / Roy Hargrove, © 1996-2020, Amazon.com, Inc. or its affiliates. It reached #1 on Billboard’s Top Jazz Albums and #2 on Billboard’s Top R&B Albums.
Hancock was futzing with the manual pitch bender on the synthesizer during his solo and didn’t realign it. Recorded in a single week and released shortly thereafter, on October 13, 1973, it spent 42 weeks on the Billboard chart, becoming the first platinum-selling jazz album, as it was being slammed by critics as a rapacious commercial move.
And if that doesn’t move you, how about when Harvey Mason comes in with the funkiest drum part in the history of drumming, a groove even Hancock said he had never heard before in his life, that snare hit coming just before the two, the kick drum so dead and relaxed, are you kidding me? The Headhunters' music is a complex blend of many styles and genres, including jazz, funk, African and Afro-Caribbean music. And as always, mainstream America drank deep from this new well of underground black music. In 2007, Headhunters was inducted into the National Recording Registry and is included on Rolling Stone’s “500 Greatest Albums of All Time”. Tributaries of jazz history flowed through Maupin, who had played with hard bop greats like Lee Morgan and avant-garde pioneers like Pharoah Sanders in the previous decade. This section is an adaptation of the traditional calls of Ba-Benzélé pygmies of Central Africa, an effort by Summers “to bring up the level of appreciation of the African experience.” With a fat Fender sound, Jackson plays the best bassline on the album—better even than “Chameleon”—defining the one and creating the syncopation outside of Summers’ nest of percussion.
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