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.

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

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

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.

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.

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.

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.

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.

Recorded February 1972
Pacific Recording Studios, San Mateo
Moog and mellotron at
Different Fur Trading Company, San Francisco
Herbie Hancock - acoustic piano, electric piano, Mellotron, percussion
Eddie Henderson - trumpet, flugelhorn, percussion
Billy Hart - drums, percussion
Julian Priester - bass, tenor and alto trombones; percussion
Buster Williams - electric bass, string bass, percussion
Bennie Maupin - soprano saxophone, alto flute, bass clarinet, piccolo, percussion
With:
Patrick Gleeson - Moog synthesizer
Victor Pantoja - congas
Voices - Candy Love, Sandra Stevens, Della Horne, Victoria Domagalski, Scott Breach

Imagine the possibilities…..

"Possibilities" is the musical event of the year. The album is a series of inspired encounters between Herbie Hancock and world-renowned musicians – including John Mayer, Sting, Trey Anastasio, Annie Lennox, Damien Rice and Lisa Hannigan, Santana and Angelique Kidjo, Paul Simon, Christina Aguilera, Jonny Lang, Joss Stone, and Raul Midon. Herbie Hancock describes "Possibilities" this way: "This is a real collaboration that we’re doing here. It’s all been decided at the session, a record without borders, woven like a tapestry with many colors. The possibilities are endless"

2001 reissue of 1970 album, remastered from the original analogue tapes and packaged in a digipak. Currently out-of-print in the U.S.3 tracks. Approx. 45 minutes.

Mr. Hands is the thirtieth album by Herbie Hancock. It features Jaco Pastorius on the track "4 A.M.," plus an all-synthesizer track, "Textures," performed entirely by Hancock. "Shiftless Shuffle" (originally recorded for the Japan-only album Directstep) features all five members of The Headhunters quintet that first appeared on the 1973 album Head Hunters, including the quintet's original drummer Harvey Mason. This album was the first on which Hancock used a computer, this time an Apple II. He would continue his relationship with Apple Computer for many years.
An overlooked album when it was released, this would be the last outing of "straight" electric jazz from Hancock for some time. Later albums focused more on his R&B influences.

1983年发行的白金唱片《Future Shock》是贺比的重要里程碑，其中的经典单曲〈火箭〉早在嘻哈与饶舌歌曲流行之前就加入了DJ刮唱片的特殊音效，对唱片界是一大震撼。
Hancock七岁开始学习钢琴,两年以后就开始他的第一次公开演出.高中和大学时期他在一些半专业的乐团中演奏,偶尔有机会为一些造访的爵士乐手伴奏,其中就有Donald Byrd.1961年,Hancock第一次在纽约演出就是和Donald Byrd合作,后来自己建乐团时也和Donald Byrd合作过. 他声名鹊起获得广泛承认的是他加入Miles Davis的五重奏以后.他与Miles共同呆了五年多,在与Davis合作的后期,乐队开始演奏Jazz-rock的风格,Hancock对这种风格十分适应,1968年他自己组了一个六重奏追求自己的演奏观念.他们演奏Hancock原创的作品,乐队成为70年代早期最受欢迎和最具影响力Jazz-Rock乐队. 从1969年开始,Hancock广泛使用电钢琴和其他电子乐器,包括合成器.1973年迫于经济压力Hancock将他的乐队削减为四重奏,其中包括特色乐手Bennie Maupin.新乐队的风格还是Fusion,但这次更多偏向于Jazz-Funk.Hancock四重奏的首张专辑Head Hunters被刚萌芽的Disco乐界广泛接受而且赢得巨大的销量.整个七十年代其余的时间，Hancock的音乐始终关注于这个领域.期间他也制作了数张传统爵士专辑,其中有与Chick Corea一起的以及他自己乐队V.S.O.P。
Hancock在音乐中展现了一种影响深远的创造性,为流行唱片工业设立了一个标准.音乐在形式上是理性的产物,但其内容却是无法缺少热情的, V.S.O.P.乐队的作品一向以其完整性、强烈的情绪和原创性著称.尽管Hancock最初的兴趣在传统爵士上,但他非常有技巧地将其音乐的探索推向其他的领域,创作出一组激动人心的作品。