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CD Rudy Van Gelder Serie
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful
By Clive Hedges
Format:Audio CD
Wouldn't disagree too much with the other review for this but would note a word or two of detail for those that maybe know Hancock for his later work or 'Watermelon Man'. At the core of the album are two bluesy numbers, 'Blind Man, Blind Man' and 'And What if I Don't?' and two other Hancock originals, the gently swinging 'A Tribute....' and the more gentle, pleasingly sentimental 'The Pleasure...'; the latter two sounding for all the world like standards from decades earlier. The soloists are well chosen, with Grant Green putting in appearances on the blusey numbers. None of this is anything but fairly standard Blue Note stuff for the time but it's meat and drink to Green, Byrd and Mobley who all turn in perfectly apt and pleasing solos. Hancock also sounds perfectly able to keep up with the more experienced company and offer a little more orignality of his own. The odd-one-out of the bunch is 'King Cobra', a taste of the direction Hancock would go in soon on the classic 'Maiden Voyage'. This is interesting and worth hearing for Hancock and especially Williams but does sound a bit out of place in the surrounding material.
9 of 10 people found the following review helpful
By A Customer
Format:Audio CD
Herbie Hancock's "My point of View" was one of his less successful albums at the time of release; but although it may lack an instant classic like "Watermelon Man", it's still a great album of inventive and perfectly performed jazz. The re-mastered version is especially worth investing in, as the sound quality is fantastic, and the bonus track, an alternate take of "Blind Man, Blind Man", is that rare thing on a jazz CD, an alternate take that's actually truly different and musically revealing. Hancock's solo on that track is definitely worth a listen, and it follows an album of real intelligence and worh.
By GlynLuke
TOP 500 REVIEWER
Format:Audio CD|Amazon Verified Purchase
After his promising debut Takin` Off, Herbie came out with this remarkably assured album with an eclectic line-up of trumpeter Donald Byrd, too little heard Grachan Moncur III on trombone, Hank Mobley on tenor sax, guitarist Grant Green, bassist Chuck Israels, and a swingin` Tony Williams occupying the drum seat with his customary aplomb.
Some very fine jazz is to be heard here, the mixed bag of musicians playing like they`ve been together for a while. Williams effortlessly drives the whole thing along, and Herbie`s solos are models of concision. Hancock was still a very young man, but genius couldn`t help breaking through, and there are lyrical pointers to his more ethereal, impressionistic later work on some of these tracks. It makes for an intriguing hybrid of styles (and it sure beats the overrated doodlings of Head Hunters).
No need to pick through each track, as there`s a consistency of inventiveness and eloquence on this second record which is a guarantee of excellence.
Some fellow reviewers on this and the US site have tended to damn this album with faint praise, but I think it`s a lovely, fresh, likeable set of numbers, with a gently forlorn ballad halfway through in the shape of the all too brief The Pleasure Is Mine, on which the pianist plays like a dream. (Incidentally, on the back cover of this characteristically well-packaged Blue Note remaster, the timing of this track is inaccurately doubled to 8 mins.)
Without the alternate take of the superb Blind Man, Blind Man (so good he named it twice, and recorded it twice too!) this was indeed Hancock`s half-hour - well, 34 mins to be exact - and the extra track here brings it up to a pleasing 42 mins, all of them treasurable.
There`s little that`s earth-shattering or particularly innovative here, but what you get is a fascinating album of funky-lyrical jazz with that mix of restraint and joy that is, to me at any rate, irresistible.
Some very fine jazz is to be heard here, the mixed bag of musicians playing like they`ve been together for a while. Williams effortlessly drives the whole thing along, and Herbie`s solos are models of concision. Hancock was still a very young man, but genius couldn`t help breaking through, and there are lyrical pointers to his more ethereal, impressionistic later work on some of these tracks. It makes for an intriguing hybrid of styles (and it sure beats the overrated doodlings of Head Hunters).
No need to pick through each track, as there`s a consistency of inventiveness and eloquence on this second record which is a guarantee of excellence.
Some fellow reviewers on this and the US site have tended to damn this album with faint praise, but I think it`s a lovely, fresh, likeable set of numbers, with a gently forlorn ballad halfway through in the shape of the all too brief The Pleasure Is Mine, on which the pianist plays like a dream. (Incidentally, on the back cover of this characteristically well-packaged Blue Note remaster, the timing of this track is inaccurately doubled to 8 mins.)
Without the alternate take of the superb Blind Man, Blind Man (so good he named it twice, and recorded it twice too!) this was indeed Hancock`s half-hour - well, 34 mins to be exact - and the extra track here brings it up to a pleasing 42 mins, all of them treasurable.
There`s little that`s earth-shattering or particularly innovative here, but what you get is a fascinating album of funky-lyrical jazz with that mix of restraint and joy that is, to me at any rate, irresistible.
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