My Point of View is the second album by pianist Herbie Hancock. It was released in 1963 on Blue Note Records as BLP 4126 and BST 84126.

Centered around some soundtrack music that Herbie Hancock wrote for Bill Cosby's Fat Albert cartoon show, Fat Albert Rotunda was Hancock's first full-fledged venture into jazz-funk -- and his last until Head Hunters -- making it a prophetic release. At the same time, it was far different in sound from his later funk ventures, concentrating on a romping, late-'60s-vintage R&B-oriented sound. with frequent horn riffs and great rhythmic comping and complex solos from Hancock's Fender Rhodes electric piano. The syllables of the titles alone -- "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" -- have a rhythm and feeling that tell you exactly how this music saunters and swaggers along -- just like the jolly cartoon character. But there is more to this record than fatback funk. There is the haunting, harmonically sophisticated "Tell Me a Bedtime Story" (which ought to become a jazz standard), and the similarly relaxed "Jessica." The sextet on hand is a star-studded bunch, with Joe Henderson in funky and free moods on tenor sax, Johnny Coles on trumpet, Garnett Brown on trombone, Buster Williams on bass, and Albert "Tootie" Heath on drums. Only Williams would remain for Hancock's 1977 electric V.S.O.P.: The Quintet album to come. In addition, trumpeter Joe Newman, saxophonist Joe Farrell, guitarist Eric Gale, and drummer Bernard Purdie make guest appearances on two tracks.

This Amazon.com exclusive version of River: The Joni Letters includes two bonus tracks, "All I Want" featuring Sonya Kitchell and "A Case of You."



The legendary pianist and innovator Herbie Hancock explores the words and music of another musical pioneer, Joni Mitchell, on his first new studio recording for Verve since 1998's GRAMMY® award-winning Gershwin's World.



Inspired in equal parts by Mitchell's poetic lyrics and unique melodies, Hancock and saxophone giant Wayne Shorter play with a restraint and elegance that achieves a perfect balance between the adventurous aesthetics of jazz improvisation and the emotional directness of the finest Adult Pop music.



Hancock builds upon his (and Shorter's) previous collaborations with Ms. Mitchell to create a sound that will appeal not only to fans of both artists, but to the listener familiar with the work of Norah Jones, Corinne Bailey Rae and the other brilliant guest vocalists featured on this session. River: The Joni Letters is the perfect CD for the music fan looking for something new that's based in the familiar.

Originally released in 1975 as a double live album, recorded and initially released only in Japan. Flood admirably documents Hancock's Headhunters-period in a concert setting. The tunes are mostly culled from the recommended studio albums Headhunters, Thrust and Man-Child, with an excellent remodeling of 'Maiden Voyage' opening the program.

Out of print in the U.S.! Originally released in 1984, this was the second installment in Herbie Hancock's electronic trilogy (bookended by 1983's Future Shock and 1988's Soundsystem). Seven tracks including a bonus extended mix of 'Metal Beat'. Sony.

For his third album, Herbie Hancock chose a very rhythmic setting for his improvised compositions. Supported only by bassist Paul Chambers and percussionists Willie Bobo and Osvaldo Martinez, the pianist creates each tune from scratch and the results are astonishing. The alternate take of "Mimosa" has previously only been available as part of box set.
*bonus tracks, not part of the original LP
HERBIE HANCOCK, piano
PAUL CHAMBERS, bass
WILLIE BOBO, drums, timbales
OSVALDO "CHIHUAHUA" MARTINEZ, congas, bongos, guiro, finger cymbals

From the start of his solo recording career in 1962, when he was 22, Herbie Hancock was a very original pianist/composer. Strangely enough, despite the explorative nature of much of his music, Hancock was also quite accessible, recording the future hit "Watermelon Man" on his debut date. This six-CD set is a must for all jazz collectors who do not already own Hancock's Blue Note albums, for the box contains the complete contents of the pianist's albums Takin' Off, My Point of View, Inventions & Dimensions, Empyrean Isles, Maiden Voyage, Speak Like a Child, and The Prisoner. In addition, there are a dozen alternate takes (seven not previously released), five selections taken from dates led by others (Donald Byrd, Jackie McLean, Wayne Shorter, and Bobby Hutcherson), and an unissued r&b-ish number ("Don't Ever Go There") from an abandoned 1966 project. The title of the attractive 1998 package is not completely accurate, for although the program includes all of Hancock's Blue Note dates as a leader, it does not have all of his recordings as a sideman for the label (which would take a really huge box). There are many classics in this reissue, including "Watermelon Man," "Blind Man, Blind Man," "Cantaloupe Island," "Maiden Voyage" (including a second version from a Hutcherson date), "The Eye of the Hurricane," "Dolphin Dance," "The Prisoner," and the entire Speak Like a Child album. Among Hancock's sidemen are trumpeters Freddie Hubbard, Donald Byrd, Thad Jones, and Johnny Coles, tenors Dexter Gordon, Hank Mobley, and Joe Henderson, bassists Butch Warren, Chuck Israels, Paul Chambers, Ron Carter, and Buster Williams, and drummers Billy Higgins, Tony Williams, Willie Bobo, Mickey Roker, and Albert "Tootie" Heath. Timeless music that is still quite undated and fresh. ~ Scott Yanow, All Music Guide

Japanese SACD hybrid disc pressing of Hancock's 1977 album features the digitally remastered stereo mix and the 5.1 mix. The SACD side is only playable on SACD players. The CD side is playable on most CD players. Sony.

A great album of soulful jazzy tracks -- featuring vocals by Japanese singer Kimiko Kasai, and keyboards from Herbie Hancock and Webster Lewis. Kimiko sings in English, and the record's got some great versions of Herbie Hancock tunes -- including "Maiden Voyage", "Sunlight", "Butterfly", "Tell Me A Bedtime Story", and "Harvest Time". Also features a nice version of Stevie Wonder's "As", and the track "Head In The Clouds". The record's got a nice smooth fusion groove -- post Headhunters, almost in Herbie's late 70s mode for the US, but better!

荣获坎城影展金棕榈奖完整电影音乐首次发行
专业音乐网站All Music Guide四颗半星高评
收录融合爵士键盘手赫比．汉考克的电 影配乐、传奇性的摇滚团体Yardbirds "Stroll On"、Tomorrow的主题曲 "Blow-Up"、Loving Spoonful的畅销曲"Did You Ever Have To Make Up Your Mind?"
【Blow-up】的原声带收录十七首歌曲，配乐部份由融合爵士键盘手赫比．汉考克（Herbie Hancock）担任，赫比1940年出生于芝加哥，曾参加迈尔．戴维斯的乐团，1986年以【Blow-up】赢得奥斯卡最佳配乐。另外有几首歌都是六 ○年代红及一时的团体或艺人所作或演唱，例如栏鸟合唱团(Yardbirds)的"Stroll On"、Tomorrow的主题曲 "Blow-Up"、爱之匙合唱团（Loving Spoonful）的畅销曲"Did You Ever Have To Make Up Your Mind?"

Herbie Hancock's star-studded The Imagine Project was several years in the making, recorded in seven countries with musicians from all over the globe. Hancock's band with producer/bassist Larry Klein, drummer Vinnie Colaiuta, percussionist Alex Acuña, and guitarist Lionel Loueke is a common denominator. Much of what's here is interpretations of well-known pop, folk, and soul songs. That said, The Imagine Project (named for the John Lennon song) feels more like an overreach than a seamless or successful series of collaborations.
The best things are indeed fine. There's a gorgeous reading of Baden Powell's “Tempo de Amore,” thanks to Lucas Martins’ bassline and CéU's singing. “Space Captain” by the Derek Trucks-Susan Tedeschi Band -- with Hancock and Colaiuta -- brings out a much-needed soulful grit to Tedeschi’s vocals, gospelized four-party harmony, and Trucks' tough slide playing. Bob Dylan's “The Times They Are a Changin'," with Lisa Hannigan's raw, emotive vocals, is underscored by interplay between the Chieftains, Toumani Diabaté's kora, and Hancock's piano. The tune moves past its American folk revival beginnings to reflect a global sentiment. “Tamatant Tilay”/”Exodus” pairs the nomad Malian guitar band Tinariwen’s song with Bob Marley's classic. K’NAAN, Tinariwen, and three members of Los Lobos are all featured on vocals. Tinariwen dominates with Hancock’s funky clavinet pushing against their snaky wall of guitars and ululating singing; it's the hippest track here. Klein’s “The Song Goes On,” features Anoushka Shankar, Wayne Shorter, Chaka Khan, and K.S. Chithra with some lyrics translated into Hindi. A full-on Indian session band interacts with Shorter’s knotty soprano sax, and the only truly engaged Hancock piano playing on the set is here. Then there's the rest: “Imagine"'s intro features overwrought singing by Pink and Seal, but turns itself into a Caribbean-flavored tune with India.Arie and her tasteful understatement. Konono No. 1's driving likembe break has Oumou Sangare's vocal accompaniment adding depth to save it. Peter Gabriel's “Don’t Give Up,” a duet between Pink and John Legend, reeks of overproduction; Legend's singing mimics Gabriel’s; Pink's dry acrobatics are hollow. Dave Matthews is a poor choice as a lead vocalist on the Beatles' “Tomorrow Never Knows.” His voice is unexpressive and doesn’t match the musical drama created by drummer Matt Chamberlain, and Danny Barnes and Michael Claves on psychedelicized banjos and guitars. This mixed bag of a record feels like a deliberate grab at Record of the Year Grammy, but it's too uneven. Hancock has taken many risks in his career, but this doesn’t feel like one of them.