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
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