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Head Hunters Import

4.6 out of 5 stars 37 customer reviews

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Product details

  • Audio CD
  • Number of Discs: 1
  • Format: Import
  • Label: Columbia
  • ASIN: B000026VSL
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  Mini-Disc  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (37 customer reviews)
  • Amazon Bestsellers Rank: 287,178 in Music (See Top 100 in Music)

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

4.6 out of 5 stars
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Top Customer Reviews

Format: Audio CD Verified Purchase
1973's Headhunters from Jazz great Herbie Hancock is a bit of an oddity in my collection. It is the one jazz rock fusion record that I actually like. Recorded just three short years after his former band leader Miles Davis had broken into the genre with Bitches Brew, Hancock manages to do what (in my opinion) Miles couldn't, and produces a fusion record that really works. With his electric piano and a talented group behind him he lays down a funky groove that is totally accessible to all. He even re-records watermelon man, a hit from his debut album 10 years previously, and transforms it into a slow burning funk classic.

And it is the word `accesssible' that is the key to this - with is experiments in dissonance and complex meandering improvisations Miles Davis was almost challenging people to enjoy Bitches Brew, but Hancock throws open the door and invites you inside for a night of dancing. It's all clever stuff, but it is enjoyable music that gets your dancing feet going as well.

This release is the Columbia 1997 reissue. It has an excellent mastering, with a clear sound. The original album is here with no extras, which seems a little bit of a shame but there you go.
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Format: Audio CD
If there was ever an introduction that embodied the complete essence of its album, it must be the famous bass line that begins Chameleon. From the opening note, a sense of cool is established that never lets up but for the furious solos on Sly.

Where do you start with Chameleon? It is a staple of funk music, a tune that is known to people who have never listened to jazz in their life, arguably the most famous genre crossover piece in history. BUT, bizarrely, it's perhaps the weakest track on Head Hunters, simply because of the quality of the tunes that follow.

Watermelon Man, funked up from Hancock's Takin' Off (Blue Note, 1963) standard, is given a lazy, half time feel, and easily eclipses the original. Sly, is where the cool feel of the album is briefly broken for insanely energetic solos by Bennie Maupin and then Herbie. The album is finished off with Vein Melter- a deeply chilled out effort that recalls Crossings' (Warner Bros, 1971) Water Torture, and returns the album's tone back into the blue.

Head Hunters is not a perfect album(witness the drums and the bass disagreeing over tempo after the electric piano solo on Chameleon, or Vein Melter's dodgy synth strings), but I like to think that no other jazz-funk album, Hancock's or anyone elses, has ever surpassed it. It remains one of my favourite albums, and a great introduction to Herbie Hancock's funk music.
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By A Customer on 2 Jun. 2001
Format: Audio CD
Head Hunters heralded the birth of the jazz funk era, characterised by the use of jazz reeds, electric bass, guitar and keyboards, a highly defined rhythm driven by a tight bass-and-drum relationship, riff-based compositional devices, use of sudden silences and space as rhythmic elements in themselves, and an overall electric sound that demanded to be played loud.
"Chameleon", the opening track, was immediately recognised as a major contribution to both the jazz canon and the dance canon. No riff in jazz had ever sounded as deep and thrusting as this. In spite of the widespread popularity of "Chameleon" and the legion of admirers who claim it's the greatest jazz funk track ever, the real masterpiece is "Watermelon Man".
It's mildly ironic that the best piece on the album should be one that Hancock had composed early in his career (it first appears on his first album as leader, Takin' Off, Blue Note, 1962). The 1973 version is virtually unrecognisable from the original - it retains only the blues-based progression, and Paul Jackson's detached bass figures wink distantly at Butch Warren's original blues bass line. The composition is constructed cautiously over a light ostinato pipe figure that builds up into a theme dominated by Hancock's Fender Rhodes, alternating between a staccato emphasis on the off-beat and a call-and-response dialogue between Hancock and Bennie Maupin that hovers in eerie suspension over the bass and drums.
Most significantly, the album introduces humour as a central element in the argument: jazz-funk could only be taken seriously as a genre when it mocked itself. Head Hunters drew simultaneously on Herbie Hancock's decade of playing with the jazz greats, the wah-wah sound of Jimi Hendrix's legacy, and the feverish dance sound of Sly Stone and George Clinton. And it did this with the supreme paradoxical humour of simultaneous detachment and involvement that only a master like Hancock could pull off.
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Format: Audio CD Verified Purchase
Having reached that peculiar age where there would appear to be more past than future I have embarked upon a project of back tracking all the music that has affected me in some way throughout the years

This amazing and boundary busting album from the early 1970s does not disappoint on re hearing, indeed the sounds from Mr Hancock and co transported me back to a carefree summertime with the intensity that true nostalgia can bring.

The album is a jazz funk oriented blast that satisfies every one of my musical molecules; with just four tracks the music can explore and experiment without a trace of longeuse
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Format: Audio CD Verified Purchase
This album is hugely popular and widely loved for its joyful funkyness. It's one of the (if not "the") best selling jazz albums of all time. It's pretty accessible stuff - It's also more sophisticated than many critics have suggested - the solos are long and often quite melodically complex, although this is always obscured by the rock-solid grooves. Hancock was accused of selling out, but it's clear from both this album's immediate predecessors (Sextant, Crossings) and as far back as Watermelon Man on Takin' Off and Cantaloupe Island on Empyrean Isles that Herbie was working towards this from the start, and that there was always a commercial / accessible side to his playing and writing. Sure, it's not the most profound music Hancock ever consigned to record, based as it is mostly on simple, catchy grooves, but in terms of sheer joyfulness it's hard to beat, and it's also a much more successful fusion of jazz and funk than some of the other things emerging at this time (like Miles Davis's On the Corner).

It also represented the last truly innovative Hancock album. The follow-up, Thrust, was a carbon copy; ever after Hancock's albums were divided between bland, commercial product (Future Shock and its ilk), and explicit attempts to re-create his 1960s style (VSOP and the other acoustic albums) without ever moving on from it. Herbie is a great pianist but I feel that of all of Miles's surviving superstar ex-sidemen (Corea, McLaughlin, Shorter, Ron Carter, Jack DeJohnette, Keith Jarrett etc) he has been the least successful in really transcending the work he did with Miles.
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