Perhaps it was Herbie’s participation in two November, 1969 sessions with Miles Davis (that turned out Orange Lady and Great Expectations), and the amazing success of Miles’ Bitches Brew recording that challenged Herbie into taking a risk by pushing his sound a little further out. Instead of watering down his approach to fit the “anticipations” of a large, art-lite label, Herbie’s next two recordings charted fresh, new ground. The Fat Albert Rotunda Soundtrack signaled Herbie’s move from Blue Note to Warner Brothers, a large, pop-oriented label.
#HERBIE HANCOCK AND GIGI HANCOCK TV#
This sextet formed the core group of two 1969 recording sessions: The Prisoner for Blue Note and the soundtrack to Bill Cosby’s TV show Fat Albert Rotunda. Herbie then added three horns to his trio Johnny Coles on trumpet, Garnett Brown on trombone, and Joe Henderson on flute and tenor sax. By 1969, Buster Williams became the full-time bassist (Albert Heath was still the drummer). Herbie did some gigs with Ron and Albert Heath (Jimmy Garrison did a week with the trio in Philadelphia) but he needed to expand and develop his compositional ideas that were based on the music from Speak Like A Child (Blue Note). So when the time was right to put together a trio, his first choice was Ron Carter on bass and Mickey Roker on drums. When Miles was hospitalized, Herbie played the Village Vanguard with Richard Davis and Tony Williams during the Summer of 1965. Herbie had worked on occasion as a leader of a trio. He was on (as of 1968) ten Miles Davis Quintet albums, and had recorded seven sessions for Blue Note, six of which had been released by 1968. Since May of 1963, Herbie had been a key member of the Miles Davis Quintet.
#HERBIE HANCOCK AND GIGI HANCOCK MOVIE#
Herbie had been involved with movie soundtracks ( Blow Up), television Commercials (Yardley Perfume’s use of “Maiden Voyage” and a cigarette brand theme that eventually became “Promise Of The Sun” or “I Have A Dream”), recording sessions with Sonny Rollins, Donald Byrd, Eric Dolphy, Jimmy Heath, Kenny Burrell, Stan Getz, Benny Goodman, Wes Montgomery, Phil Woods, Harold Vick, George Benson, Stanley Turrentine, Jackie McLean and many important Blue Note sessions of Wayne Shorter, Lee Morgan and Bobby Hutcherson. Herbie may not have returned from his honeymoon with a steady gig, but he had opportunities waiting for him that few of his generation could enjoy. Miles booked some gigs (Miles worked when he wanted to), Herbie was unavailable, Chick Corea was, and lo and behold, Herbie was gigless. He had recently married, and was to embark on his honeymoon in Brazil, and decided to extend his stay. Herbie Hancock left the Miles Davis Quintet in the summer of 1968. Another profound change earlier the same year was his conversion to Nichiren Shoshu Buddhism, reflected in the distinctive spirituality heard on the albums of The Mwandishi Band (so-called because of the Swahili names taken by the musicians).Īrmed with an electronic arsenal of sound effects and a synthesizer, as well as indigenous African percussion instruments, the septet’s extended collective improvisations produced an absorbing mixture of ethereal, yet earthy sounds, ranging from the eerie synthesized ambience of “Rain Dance” to the funky, percolating 19/4 groove of “Hidden Shadows.” But faced with a record company which lacked the marketing and promotion links with the black music market, and due to the heavy financial burden of constant touring with the large ensemble, Hancock eventually disbanded the group shortly after the album’s release and ventured into something different… Head Hunters.” – 2013 Sony Box Set Liner Notesġ998 Sony Legacy Remastered Edition Liner Notes: After living in New York City for 11 years, Hancock moved to Los Angeles with his wife Gudrun ‘Gigi’ Meixner and their young daughter Jessica in December 1972. “The recording of Sextant not only marked the starting point of Hancock’s relationship with Columbia, but coincided with a new beginning in his private life as well.
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