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Johnny Ray's Collection

Herbie Hancock   11/13/2002

Singletary Hall, University of Kentucky, Lexington, KY
Source Sony ECM-MS907 stereo electret condense rmic to Sony TCM-D7 DAT >
Media CD-R/SHN   1 disc
Notes Audience: Sony ECM-MS907
Tech Notes Transfer: Macintosh QS 733 via Midiman Delta
66 S/PDIF I/O > recorded w/ Amadeus II v.3.5.4 > Mastered w/ Roxio Jam
v.5.01 > compressed w/ Shorten for Macintosh v.1.1a4

Editing notes:
d1t1 - Normalized track and added fadeout
d1t2 - Normalized track and added fadeout
d2t1 - Normalized track and added fade out
d2t2 - Balanced stereo image, normalized track and added fade out
d2t3 - Filtered scream at 0.06 and 0.16 to reduce volume, normalized track
and added fadein and fadeout.

If you have any comments or know the title of disc 2 track 1 please contact
me at webmaster@cartercentral.org . Enjoy!
Microphones Sony ECM-MS907 stereo electret condense rmic
J-Card Comment Personel:
Herbie Hancock - piano and keyboard
Gary Thomas - saxophone and flute
Scott Colley - acoustic bass
Terri Lyne Carrington - drums

THIS RECORDING IS FOR LISTENING AND TRADING ONLY!
DO NOT SELL OR OTHERWISE INFRINGE ON HERBIE HANCOCKS'S COPYRIGHT!

"LEXINGTON HERALD LEADER
November 14, 2002

ELECTIONS ARE HEADY MIX OF PAST, PRESENT
By Walter Tunis
CONTRIBUTING MUSIC CRITIC

Halfway through his sold-out performance last night at the Singletary
Center for the Arts, Herbie Hancock appeared briefly befuddled as he toyed
with a computerized keyboard atop his grand piano. When the gizmo failed to
register the desired program, this landmark instrumentalist of jazz and
funk music simply shrugged his shoulders and acknowledged the obvious: "Who
knows?"

Truth to tell, this second performance of the 25th Spotlight Jazz Series
was hardly about electronics. The acoustic quartet format adopted for the
two-hour concert didn't tell the whole story either. This session was about
rediscovery.

Though only five selections made up the program, the repertoire shifted
from Hancock's Blue Note beginnings in the '60s through his famed fusion
music of the early '70s to electric tunes recorded as recently as last
year.

Hancock, though, showed zero interest in approaching such a vast scope of
his work from any sort of historical perspective. Instead, inspirations
from the eras his compositions were born in crisscrossed and, in some
instances, overlapped.

For example, a 50-minute concert-opening medley threw a nearly
unrecognizable and fractured version of 1966's Dolphin Dance together with
an acoustic reworking of 2001's funk excursion Virtual Hornets (itself an
adaptation of a fusion work called Hornets Hancock recorded nearly three
decades earlier). Despite the piece's massive length, no single player in
the keyboardist's group dominated.

Designed as a suite with piano passages that recalled Bartok more than bop,
this Dance revealed blues rhythms from drummer Terri Lyne Carrington,
almost percussive bass passages from Scott Colley and what Hancock referred
to as "little melodic things" from saxophonist Gary Thomas.

The rest of the program wasn't nearly as extreme. A Carrington piece titled
Middle Way introduced a more pronounced sense of swing while an encore of
the Hancock classic Watermelon Man, which owed more to its 1973 funk
incarnation than its 1962 original, presented a playful but economic groove
that got some of the younger and less inhibited patrons up and dancing.

"Life is about the moment," Hancock told the crowd at the onset of the
performance. Though much of what followed indulged in time-tripping, its
attitude and execution couldn't have been more current."

http://www.kentucky.com/mld/heraldleader/4515112.htm

Trades Allowed Yes
Owned by Johnny Ray · Last Updated May 23, 2023