1. Kumbasora
2. Cigarette Lighter
3. Starting Point
4. Jimbasing
5. Debo

Herbie Hancock - keyboards
Foday Musa Suso - kora, vocals
Aiyb Dieng - truban, percussion
Armando Peraza - percussion
Adam Rudolph - percussion
Joe Thomas - bass
Hamid Drake - drums, percussion
Abdul Hakeem – guitar

Live at Los Angeles' Wiltern Theatre, 1986

Herbie Hancock's talent as a pianist was evident when, at age 11, he performed Mozart's D Major Piano Concerto with the Chicago Symphony Orchestra. He began playing jazz in high school, initially influenced by Oscar Peterson and Bill Evans. Also at this time, a passion for electronic science began to develop, so Hancock studied both electrical engineering and music composition at Grinnell College in Iowa. His love of electronics led Hancock to be a pioneer in the use of electric piano, clavinet, and synthesizer in jazz.

In 1961, trumpeter Donald Byrd asked the young pianist to join his group in New York, leading to Blue Note offering him a recording contract. His first album as leader, Takin' Off, which included the hit single "Watermelon Man," demonstrated a gift for composition and improvisation. His talent impressed Miles Davis enough to ask Hancock to join his band in 1963. In the five years he worked with Davis, who became a mentor as well as an employer, Hancock established his standing as one of the greatest pianists of all time. Along with Ron Carter (bass) and Tony Williams (drums), Hancock altered the role of the rhythm section in jazz to include expanded solos and spontaneous changes in mood and tempo. He also composed a number of pieces for the band as well as for his outstanding solo recordings with Blue Note. It was toward the end of his tenure with Davis that he began to use electric piano.

After leaving the band in 1968, Hancock continued to explore the use of electronic instruments in his music. In 1973, he formed a quartet whose first recording, Head Hunters, launched him into jazz stardom and became a bestselling jazz album. In the late 1970s, Hancock revived the old Miles Davis band (Freddie Hubbard stood in for Davis) under the name V.S.O.P. and they toured extensively. Throughout his career, he has demonstrated stunning artistic versatility. In 1983, "Rockit," a single that resulted from a collaborative effort with the rock band Material, became a hit on MTV. Hancock then switched gears completely, partnering with Gambian kora virtuoso Foday Musa Suso on two albums, Village Life and Jazz Africa. ---arts.gov

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CD 1 (set 1) 54.59 min
1. Introductions
2. New York Minute
3. Norwegian Wood
4. Mercy Street

CD 2 (set 2) 52.15 min
5. Thieves In The Temple
6. You've Got It Bad Girl Herbie Hancock

LINEUP: 
Herbie Hancock: piano 
Michael Brecker: tenor sax 
John Scofield: guitar 
Dave Holland: bass
Jack DeJohnette: drums, tabla, perc. 
Don Alias: perc.

Live at Summer Jazz Days in Warszaw/PL, 1997-06-29

Herbie Hancock performs a set of tunes which include numbers from the likes of Peter Gabriel, Stevie Wonder, Sade, Paul Simon, Prince, the Beatles ("Norwegian Wood") and Kurt Cobain. However by adding vamps, reharmonizing the chord structures, sometimes quickly discarding the melodies and utilizing an all-star band, Hancock was able to transform the potentially unrewarding music into creative jazz. Hancock, who sticks to acoustic piano, shows that he is still in prime form, taking quite a few fiery solos. With Michael Brecker on tenor and surprisingly effective soprano, guitarist John Scofield, bassist Dave Holland, drummer Jack DeJohnette and percussionist Don Alias (along with an occasional horn or string section that was dubbed in later), the results are often quite hard-swinging and certainly never predictable. Although it is doubtful that any of these songs will ever become a jazz standard, Herbie Hancock has successfully created a memorable set of "new" music. Well worth investigating. ---Scott Yanow, Rovi

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1. Afro Boogie              play
2. Far Out 
3. Herbie's Blues 
4. Hot Piano 
5. Jammin' With Herbie      play
6. Kamili 
7. Live And Awaker 
8. Night Awake 
9. Rock Your Soul 
10. Scoochie 
11. Witch Fire

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1 Call It '95 	Griffin, Hancock, Robertson, Smith… 	4:39
2 Dis Is da Drum 	Griffin, Hancock, Lasar, Robertson… 	4:49
3 Shooz 	Griffin, Moreira, Summers 	1:17
4 Melody (On the Deuce by 44) 	Chill Factor, Griffin, Robertson… 	4:05		play
5 Mojuba 	Griffin, Hancock, Lasar, Robertson… 	4:59
6 Butterfly 	Hancock, Kravitz, Maupin 	6:08
7 Ju Ju 	Galarraga, 	Griffin, Lasar, Summers 	5:03
8 Hump 	Maupin, 	Roney, Shanklin 	4:43
9 Come and See Me 	Hancock, Smith, Watson 	4:32		play
10 Rubber Soul 		Griffin, Hancock, Robertson, Smith… 	6:40
11 Bo Ba Be Da 		Hancock, Watson 	8:04

Personnel
    Francis Awe – vocals
    Skip Bunny – djembe
    Chill Factor – dap
    Guy Eckstine – drums
    Lazaro Galarraga – vocals
    Will "Roc" Griffin – sampling, loops, sequencing, rhythm arrangements
    Herbie Hancock – synthesizer, piano, electric piano, clavinet, Moog synthesizer,
 synthesizer bass, rhythm arrangements
    Nengue Hernandez – bata
    William Kennedy – drums
    Mars Lasar – synthesizer, keyboards, sound design
    Bennie Maupin – tenor saxophone
    Airto Moreira – Percussion
    The "Real" Richie Rich – scratching
    Darrell Robertson – guitar, rhythm arrangements
    Wallace Roney – trumpet
    Jay Shanklin – rhythm arrangements
    Darrell Smith – keyboards, electric piano, rhythm arrangements
    Ken Strong – drums
    Bill Summers – percussion, conga, tambourine, bells, dunun, djembe, shekere,
 vocal arrangement, rhythm arrangements, cabasa
    Frank Thibeaux – bass guitar
    Wah Wah Watson – guitar
    background vocals - Marina Bambino, Huey Jackson, Hollis Payseur, Angel Rogers,
 Yvette Summers, Louis Verdeaux

In the 1970s, Herbie Hancock created a successful blend of jazz improvisation and contemporary funk rhythms in a succession of albums beginning with the classic Head Hunters. On Dis Is Da Drum, Hancock once again takes a dive into contemporary rhythms, in this case mid-'90s hip-hop. While the blend was not as commercially successful this time around as his crossover forays of twenty years earlier had been, the resulting music still proves to be well worth checking out. Employing cohorts like Bennie Maupin, Wah Wah Watson and multi-percussionist Bill Summers from the old days, and combining them with a huge roster of contemporary jazz, rap and hip-hop musicians, Hancock creates a surprising album full of samples, sequences, drum loops, and rhythm armies. Layered across the top are a variety of solos from Hancock himself, flutist Hubert Laws, trumpeter Wallace Roney, saxophonist Maupin and vocal snippets from various sources. The release of this album was delayed because of disagreements between the artist and his record company over the final mixes. It is, nonetheless, a recording that rewards repeated listening, from the updated version of "Butterfly," which made its first appearance on 1974's Thrust, to such irresistible gems as "Mojuba," "Bo Ba Be Da" and the title track. Not for jazzers whose ears and minds are closed to new sounds and ideas, but proof that jazz is a continually evolving music capable of absorbing the sounds of each new era and expanding its vocabulary as a result. --- Jim Newsom, All Music Guide

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1.- Watermelon Man
2.- Shangri-La
3.- And What If I Don't
4.- Succotash
5.- Cantaloupe Island			play
6.- Maiden Voyage
7.- Ceora
8.- Theme from 'Blow up'
9.- Speak Like A Child
10.- The Sorcerer
11.- Promise Of The Sun

Herbie Hancock will always be one of the most revered and controversial figures in jazz -- just as his employer/mentor Miles Davis was when he was alive. Unlike Miles, who pressed ahead relentlessly and never looked back until near the very end, Hancock has cut a zigzagging forward path, shuttling between almost every development in electronic and acoustic jazz and R&B over the last third of the 20th century and into the 21st. Though grounded in Bill Evans and able to absorb blues, funk, gospel, and even modern classical influences, Hancock's piano and keyboard voices are entirely his own, with their own urbane harmonic and complex, earthy rhythmic signatures -- and young pianists cop his licks constantly. Having studied engineering and professing to love gadgets and buttons, Hancock was perfectly suited for the electronic age; he was one of the earliest champions of the Rhodes electric piano and Hohner clavinet, and would field an ever-growing collection of synthesizers and computers on his electric dates. Yet his love for the grand piano never waned, and despite his peripatetic activities all around the musical map, his piano style continued to evolve into tougher, ever more complex forms. He is as much at home trading riffs with a smoking funk band as he is communing with a world-class post-bop rhythm section -- and that drives purists on both sides of the fence up the wall.

Having taken up the piano at age seven, Hancock quickly became known as a prodigy, soloing in the first movement of a Mozart piano concerto with the Chicago Symphony at the age of 11. After studies at Grinnell College, Hancock was invited by Donald Byrd in 1961 to join his group in New York City, and before long, Blue Note offered him a solo contract. His debut album, Takin' Off, took off indeed after Mongo Santamaria covered one of the album's songs, "Watermelon Man." In May 1963, Miles Davis asked him to join his band in time for the Seven Steps to Heaven sessions, and he remained there for five years, greatly influencing Miles' evolving direction, loosening up his own style, and, upon Miles' suggestion, converting to the Rhodes electric piano. In that time span, Hancock's solo career also blossomed on Blue Note, pouring forth increasingly sophisticated compositions like "Maiden Voyage," "Cantaloupe Island," "Goodbye to Childhood," and the exquisite "Speak Like a Child." He also played on many East Coast recording sessions for producer Creed Taylor and provided a groundbreaking score to Michelangelo Antonioni's film Blow Up, which gradually led to further movie assignments.

Having left the Davis band in 1968, Hancock recorded an elegant funk album, Fat Albert Rotunda, and in 1969 formed a sextet that evolved into one of the most exciting, forward-looking jazz-rock groups of the era. Now deeply immersed in electronics, Hancock added the synthesizer of Patrick Gleeson to his Echoplexed, fuzz-wah-pedaled electric piano and clavinet, and the recordings became spacier and more complex rhythmically and structurally, creating its own corner of the avant-garde. By 1970, all of the musicians used both English and African names (Herbie's was Mwandishi). Alas, Hancock had to break up the band in 1973 when it ran out of money, and having studied Buddhism, he concluded that his ultimate goal should be to make his audiences happy.

The next step, then, was a terrific funk group whose first album, Head Hunters, with its Sly Stone-influenced hit single, "Chameleon," became the biggest-selling jazz LP up to that time. Now handling all of the synthesizers himself, Hancock's heavily rhythmic comping often became part of the rhythm section, leavened by interludes of the old urbane harmonies. Hancock recorded several electric albums of mostly superior quality in the '70s, followed by a wrong turn into disco around the decade's end. In the meantime, Hancock refused to abandon acoustic jazz. After a one-shot reunion of the 1965 Miles Davis Quintet (Hancock, Ron Carter, Tony Williams, Wayne Shorter, with Freddie Hubbard sitting in for Miles) at New York's 1976 Newport Jazz Festival, they went on tour the following year as V.S.O.P. The near-universal acclaim of the reunions proved that Hancock was still a whale of a pianist; that Miles' loose mid-'60s post-bop direction was far from spent; and that the time for a neo-traditional revival was near, finally bearing fruit in the '80s with Wynton Marsalis and his ilk. V.S.O.P. continued to hold sporadic reunions through 1992, though the death of the indispensable Williams in 1997 cast much doubt as to whether these gatherings would continue.

Hancock continued his chameleonic ways in the '80s: scoring an MTV hit in 1983 with the scratch-driven, proto-industrial single "Rockit" (accompanied by a striking video); launching an exciting partnership with Gambian kora virtuoso Foday Musa Suso that culminated in the swinging 1986 live album Jazz Africa; doing film scores; and playing festivals and tours with the Marsalis brothers, George Benson, Michael Brecker, and many others. After his 1988 techno-pop album, Perfect Machine, Hancock left Columbia (his label since 1973), signed a contract with Qwest that came to virtually nothing (save for A Tribute to Miles in 1992), and finally made a deal with Polygram in 1994 to record jazz for Verve and release pop albums on Mercury. Well into a youthful middle age, Hancock's curiosity, versatility, and capacity for growth showed no signs of fading, and in 1998 he issued Gershwin's World. His curiosity with the fusion of electronic music and jazz continued with 2001's Future 2 Future, but he also continued to explore the future of straight-ahead contemporary jazz with 2005's Possibilities. An intriguing album of jazz treatments of Joni Mitchell compositions called River: The Joni Letters was released in 2007. In 2010 Hancock released his The Imagine Project album, which was recorded in seven countries and featured a host of collaborators, including Dave Matthews, Anoushka Shankar, Jeff Beck, the Chieftains, John Legend, India.Arie, Seal, P!nk, Juanes, Derek Trucks, Susan Tedeschi, Chaka Khan, K'NAAN, Wayne Shorter, James Morrison, and Lisa Hannigan. He was also named Creative Chair for the New Los Angeles Philharmonic. --- Richard S. Ginell, Rovi

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1. Live And Awake (3:50) 
2. Witch Fire (4:28) 
3. Cat Call (9:56) 
4. Scoochie (5:10) 
5. Hot Piano (7:20) 
6. Mr. Lucky (Rock Your Soul) (6:38) 
7. Herbie's Blues (5:47) 
8. Jammin' With Herbie (6:35) 
9. Daydream (Soul Powel) (4:38) 
10.Afro Boogie (2:01) 
11.HerbFar Out (2:12) 
12.Hot And Heavy - composed and produced by Herbie Hancock (2:24)

Herbie Hancock:piano 
Joe Henderson: saxophone 
Freddie Hubbard, Joe Newman: trumpet 
Jack DeJohnette: percussion 
Ron Carter: bass 
Phil Woods: clarinet 
Jim Hall: guitar 
Paul Griffin: organ

Rare studio sessions from Grammy award-winning legend, Herbie Hancock, recorded in the late 60s with some of the most well-known musicians of the era! Features Jack DeJohnette, Ron Carter, Freddie Hubbard, Joe Henderson and others PLUS ultra rare outtakes from the soundtrack to the cult classic film Blow Up! ---Official Press Release

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1. Imagine (Featuring Pink, Seal, India Arie & Jeff Beck)
2. Don t Give Up (Featuring Pink and John Legend)
3. Tempo De Amor (Featuring Ceu)
4. Space Captain (Featuring Susan Tedeschi and Derek Trucks)
5. The Times, They Are A Changin (Featuring The Chieftains 
    and Lisa Hannigan)
6. La Tierra (Featuring Juanes)
7. Tamitant Tilay/Exodus (Featuring K Naan and Los Lobos)
8. Tomorrow Never Knows (Featuring Dave Matthews)
9. A Change is Gonna Come (Featuring James Morrison)
10. The Songs Goes On (Featuring Chaka Khan, Anoushka Shankar
    and Wayne Shorter)

Herbie Hancock - Arranger, Concept, Keyboards, Piano, Prepared Piano, Vocals (Background)
Alex Acuña - Percussion
Ibrahim Ag Alhabib - Vocals (Background)
Abdallah Ag Alhousseyni  - Guitar (Acoustic), Vocals (Background)
Saïd Ag Ayad - Djembe, Vocals (Background)
Lawrence Azerrad 	Design
Danny Barnes - Banjo, Bass, Guitar
Jeff Beck - Guitar
Richard Bravo - Percussion
Kofi Burbridge - Hammond B3, Vocals
Oteil Burbridge 	- Bass, Vocals
Rodrigo Campos - Percussion
Céu - Vocals
Matt Chamberlain - Drums
Michael Chaves - Guitar
K.S. Chithra - Vocals
Vinnie Colaiuta - Drums, Tambourine
Kevin Conneff - 	Bodhran
Curumin - Drums
Paulinho Da Costa - Percussion
Toumani Diabaté - Kora
Fatoumata Diawara - Vocals
Larry Goldings - Hammond B3
Elaga Ag Hamid - Guitar, Vocals (Background)
Jessica Hancock - Vocals (Background)
Lisa Hannigan - Vocals
David Hidalgo - 	Vocals
The Hill-Tones - Vocals (Background)
India.Arie - Featured Artist, Vocals
Juanes 	- Vocals
Manu Katché - Drums
Bhawai Shankar Kathak - Pakhawaj Drum
Seán Keane - Fiddle
Chaka Khan - Vocals
Larry Klein - Bass, Composer, Keyboards, Vocals (Background)
K'NAAN - Vocals
Rhani Krija - Percussion
Abdallah Ag Lamida "Intidao" - Guitar, Vocals (Background)
Eyadou Ag Leche - Guitar (Bass), Vocals (Background)
John Legend - Vocals
Lionel Loueke - Guitar
Conrad Lozano - Vocals
Lucas Martins - Bass (Electric)
Dave Matthews - Guitar, Vocals
Mike Mattison - Vocal Arrangement, Vocals
Augustin Makuntima Mawangu - Likembe
Ndofusu Mbiyavanga - Percussion
Alan Mintz - Vocals (Background)
Matt Molloy - Flute
Paddy Moloney - Tin Whistle, Uillean Pipes
Mandy Montiero - Groomer
James Morrison - Vocals
Dean Parks - Guitar
Sridhar Parthasarthy - Mridangam
Louie Pérez - Vocals
P!nk - Vocals
Maria Ruvalcaba - Vocals (Background)
Oumou Sangare - Vocals
Seal - Vocals
Anoushka Shankar - Sitar
Wayne Shorter 	- Featured Artist, Sax (Soprano)
Satyajit Talwalkar - Tabla
Susan Tedeschi - Vocals
Fernando Tobon - Guitar
Alhassane Ag Touhami - Guitar, Vocals
Derek Trucks - Guitar
Visi Vincent - Drums
Pete Wallace - Keyboards
George Whitty - Keyboards, Sound Design
Tal Wilkenfeld - Bass

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.

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01 - So What (9:27)
02 - R.J. (6:16)
03 - Little One (10:23)
04 - Pinocchio (10:07)
05 - All Blues (12:06)
06 - Drum Solo (2:54)
07 - Elegy (11:15)
08 - Orbits - Paraphernalia (13:48)
09 - Eighty One - The Sorcerer (14:58)
10 - Pee Wee (8:36)

Wallace Roney - trumpet
Wayne Shorter – tenor and soprano saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams – drums

1992-07-02 - Lugano, Switzerland
FM broadcast

This Miles Davis tribute album brings back four-fifths of his second classic quintet with Wallace Roney the logical choice to fill in for the late trumpeter. Roney comes across as a sideman and is not as forceful here as one would have hoped. Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams had all grown with time and this reunion has Hancock and Williams taking on more prominent leadership roles than in the earlier days. With the exception of the drummer's "Elegy," all of the music "("So What," "RJ," "Little One," "Pinocchio," "Eighty One" and "All Blues") was regularly performed by the quintet back in the '60s. In general this reunion is a success even if it contains no new revelations. It is particularly nice to hear Wayne Shorter in this setting again. ---Scott Yanow, Rovi

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1 	So What (Live) 	10:06
2 	RJ 	4:05
3 	Little One 	7:16
4 	Pinocchio 	5:41
5 	Elegy 	8:43
6 	Eighty One 	7:29
7 	All Blues (Live) 	15:17

Bass  – Ron Carter
Drums – Tony Williams
Piano  – Herbie Hancock
Tenor Saxophone, Soprano Saxophone – Wayne Shorter
Trumpet – Wallace Roney

This Miles Davis tribute album brings back four-fifths of his second classic quintet with Wallace Roney the logical choice to fill in for the late trumpeter. Roney comes across as a sideman and is not as forceful here as one would have hoped. Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams had all grown with time and this reunion has Hancock and Williams taking on more prominent leadership roles than in the earlier days. With the exception of the drummer's "Elegy," all of the music "("So What," "RJ," "Little One," "Pinocchio," "Eighty One" and "All Blues") was regularly performed by the quintet back in the '60s. In general this reunion is a success even if it contains no new revelations. It is particularly nice to hear Wayne Shorter in this setting again. ---Scott Yanow, AllMusic Review

Wallace was mentored by Miles Davis after Miles heard him in 1983 at his birthday gala performance in Carnegie Hall. Their association peaked when Miles chose Wallace to share the stage at his historic performance in Montreux in 1991. After Davis died, Herbie Hancock, Ron Carter, Wayne Shorter, Tony Williams and Roney banded together and toured the world in tribute. ---wallaceroney.com

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1.	Homecoming
2.	Ostinato
3.	The Hook
4.	Bouquet
5.	Maiden Voyage
6.	La Fiesta

Herbie Hancock – Piano 
Chick Corea – Piano

Since Chick Corea and Herbie Hancock had by 1978 spent several years mostly playing electric keyboards, their acoustic duet tour surprised many listeners who thought that they would always specialize in fusion. This double album contains many fine performances including lengthy versions of "Maiden Voyage" and "La Fiesta" but it is the striding by Corea and Hancock on "Liza" that is most unique. --- Scott Yanow, Rovi

Ten album to zapis niezwykłego koncertu. Oczywiście akustyczny koncert dwóch pianistów to nie jest jakaś szczególnie nowa formuła, choć takie spotkania na samym szczycie nie zdarzają się często. W 1978 roku obaj pianiści - Herbie Hancock i Chick Corea byli na absolutnym szczycie jazzowej sławy. To jednak był dla nich obu również moment niezwykły. Obaj grywali raczej w składach elektrycznych, które były wtedy najmodniejsze. ---jazzpress.pl

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