Herbie Hancock - Man-Child
Prix habituel
€38,00
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Herbie Hancock - piano, Fender Rhodes, ARP Odyssey Pro Soloist 2600 ; synthesizers, Hohner D 6 clarinet Oberheim Polyphonic synthesizer [click here to see more vinyl featuring Herbie Hancock]
Wayne Shorter - soprano saxophone [click here to see more vinyl featuring Wayne Shorter]
Stevie Wonder - harmonica [click here to see more vinyl featuring Stevie Wonder]
Bud Brisbois (trumpet), Jay DaVersa (trumpet), Garrett Brown (trombone), Dick Hyde (bass trombone, tuba), Bennis Maupin (soprano saxophone, tenor saxophone, saxello, bass clarinet, alto flute, bass flute), Jim Horn (saxophone, flute), Ernie Watts (saxophone, flute), Blackbird McKnight (guitar), David T. Walker (guitar), Melvin Wah Wah Watson (guitar, voice bag, synthesizer), Henry Davis (bass), Louis Jackson (bass), Paul Jackson (bass), Louis Johnson (bass), Mike Clark (drums), James Gadson (drums), Harvey Mason (drums), Bill Summers (percussion)
Written by Herbie Hancock (A1, A2, A3, B1, B2, B3), Melvin Ragin (A1, A3, B1, B2, B3), Paul Jackson (A1, B3), Melvin Ragin (A1, A3, B1, B2, B3), Louis Johnson (A3), Melvin Ragin (A3), Wayne Shorter (A3)
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Pallas
Label : Speakers Corner
Original Label : Columbia
Recording: July 1975 at Wally Heider Recording Studios, San Francisco / Village Recorders, Los Angeles / Funky Features, San Francisco / Crystal Studios, Los Angeles
Production: David Rubinson & Friends Inc. and Herbie Hancock
Originally released in 1975
Reissued in 2013
Tracks :
Side A :
1. Hang Up Your Hang Ups
2. Sun Touch
3. The Traito
Side B :
1. Bubbles
2. Steppin’ in It
3. Heartbeat
Reviews :
« Perhaps the funkiest album of Herbie Hancock's early- to mid-'70s jazz/funk/fusion era, Man-Child starts off with the unforgettable "Hang Up Your Hang Ups," and the beat just keeps coming until the album's end. "Sun Touch" and "Bubbles" are slower, but funky nonetheless. Hancock is the star on his arsenal of keyboards, but guitarist Wah Wah Watson's presence is what puts a new sheen on this recording, distinguishing it from its predecessors, Head Hunters and Thrust. Others among the all-star cast of soloists and accompanists include Wayne Shorter on soprano sax, Stevie Wonder on chromatic harmonica, and longtime Hancock cohort Bennie Maupin on an arsenal of woodwinds. » AllMusic Review by Jim Newsom
« Speakers Corner has released a dazzling re-mastered 180-gram vinyl of Herbie Hancock’s fusion classic, Man-Child. The album was recorded in 1975 and featured a veritable all-star cadre of musicians (many of whom are part of Headhunters). There are multiple players on guitar, electric bass, drums, reeds and horns. At the center of this is Hancock on Fender Rhodes, piano and all forms of synthesizer. This is not a free-form excursion into jazz fusion, it is a funk groove-fest. Side 1 opens with a relentless flow on “Hang Up Your Han Ups”. Paul Jackson’s electric bass sets up “Wah Wah” Watson’s nasty guitar hooks. This has been frequently sampled. The layers of horns, reeds and synthesizer (including strings) envelop and stretch out the aural landscape. There are jazzy chord transitions, and a subtle, mellower piano interlude that offsets the r & b template. “Sun Touch” takes it down a notch with a gliding (and at times halting) rhythm. Hancock’s Fender Rhodes glows (with some echo) and the repeat vamp maintains the pulse. A tuba (Dick Hyde) and percussion (Bill Summers) meshes perfectly. Returning to the funk train, “The Traitor” utilizes familiar slap-bass riffs that propel the tight grooves in visceral hypnotic dynamics. Hancock employs a variety of exotic synthesized tones and solos within the group context of the jam. There are brief, muscular horn accents against synth strings that expand the soundscape.
Side 2 “struts its stuff” beginning with the slower, but locked-down “Bubbles”. The swirling atmospherics counters the tight soul, guitar and “fat” bass. Wayne Shorter contributes an understated, but effective solo on soprano saxophone. There is a level of contained rowdiness. But on “Steppin’ In It”, the overall vibe is bigger, fuller, all-out Headhunters. The arrangement is concise with punctuated horns and subtle rhythm changes. Hancock percolates on extended Fender Rhodes runs in 2 solos. There is a familiarity, like Earth Wind & Fire without vocals. As a bonus, Stevie Wonder offers a trademark, virtuosic harmonica solo. It is nothing short of funk heaven. The finale, “Heartbeat” establishes a driving thump-like vamp with scratchy guitar positioned against gossamer synths. This is possibly the closest track to classic fusion instrumentation and arrangement. Hancock is incendiary on Fender which seems the ideal instrument to develop fusion grooves.
Speakers Corner has done a masterful job ire-mastering Man-Child to audiophile vinyl. The multi-faceted, layered sound is expansive, but never fulsome. The softer, blended synthesizers and Fender tonality is terrific. When a sharper instrumental tone is introduced (soprano saxophone, harmonica) it intermingles perfectly. The front and back cover art by Nobuyuki Nakanishi is stunning, especially in 12” format, and the protected album sleeve is a nice touch. » Robbie Gerson, Audiophile Audition, July 11, 2019
After his early avant-garde years with Blue Note Records, Herbie Hancock achieved much success with pop music fans by gradually turning towards a mixture of Afro-American styles in which he combined soul, jazz and funk. Having composed the soundtrack to Bill Cosby’s animated children’s show "Fat Albert and the Cosby Kids" and released a popular family-orientated album entitled "Fat Albert Rotunda", Hancock stated that instead of looking for jazz musicians who could play funky music, he had searched for funk musicians with a feeling for jazz. T
hat this concept functions only too well is demonstrated in the funky album "Man-Child", which features such brilliant jazz musicians as Wayne Shorter, Bennie Maupin and Ernie Watts. But wait! There’s no narcissistic showing off here as in a jam session. The whole band performs as one, playing concentrated grooves around Hancock’s carefully intertwined electronic sounds. The result is a fast-paced funky style, due to the collective efforts of the band, although each member is given ample opportunity to show off his prowess in short solo interludes and thus delight the listener with his unique style.
Ratings :
AllMusic : 3 /5 , Discogs : Rate Your Music :