My Point Of View [Remaster]

Performer: Herbie Hancock
Artist: Donald Byrd; Hank Mobley; Grachan Moncur III; Grant Green; Tony Williams; Chuck Israels
Engineer: Rudy Van Gelder
Distributor: EMI Music Distribution

Notes: The Rudy Van Gelder Edition of MY POINT OF VIEW includes an essay by Bob Blumenthal. Personnel: Herbie Hancock (piano); Hank Mobley (tenor saxophone); Donald Byrd (trumpet); Grachan Moncur III (trombone); Grant Green (guitar); Chuck Israels (bass); Tony Williams (drums). Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on March 19, 1963. Originally released on Blue Note (4126). Includes liner notes by Ira Gitler and Bob Blumenthal. Digitally remastered by Rudy Van Gelder. This is part of the Blue Note Rudy Van Gelder Editions series. Personnel: Herbie Hancock (vocals, piano); Grant Green (guitar); Hank Mobley (tenor saxophone); Donald Byrd (trumpet); Grachan Moncur III (trombone); Anthony Williams , Tony Williams (drums). Audio Remasterer: Rudy Van Gelder. Recording information: New York, NY (03/19/1963); VAn Gelder Studios, Englewood C (03/19/1963). Photographer: Reid Miles. Takin' Off was an impressive debut effort from Herbie Hancock, and his second record, My Point of View, proved that it was no fluke. Hancock took two risks with the album -- his five original compositions covered more diverse stylistic ground than his debut, and he assembled a large septet for the sessions; the band features such stellar musicians as trumpeter Donald Byrd, tenor saxophonist Hank Mobley, drummer Tony Williams, guitarist Grant Green, bassist Chuck Israels, and trombonist Grachan Moncur III. It's a rare occasion that all seven musicians appear on the same track, which speaks well for the pianist's arranging capabilities. Hancock knows how to get the best out of his songs and musicians, which is one of the reasons why My Point of View is a captivating listen. The other is the sheer musicality of the record. Hard bop remains the foundation for Hancock's music, but he explores its limitations, finding its soulful side (the successful "Watermelon Man" rewrite "Blind Man, Blind Man"), its probing, adventurous leanings (the edgy "King Cobra"), and its ballad side. "The Pleasure Is Mine" is a lovely, simple ballad, while "A Tribute to Someone" takes the form to more challenging territory -- it's lyrical, but it takes chances. The closer "And What if I Don't" finds the band working a relaxed, bluesy groove that gives them opportunities to spin out rich, tasteful solos. It's a little more relaxed than Takin' Off, but in its own way My Point of View is nearly as stunning. ~ Stephen Thomas Erlewine After the phenomenal success of TAKIN' OFF, Herbie Hancock's second release for Blue Note was constructed in the mold of its predecessor. The tantalizing MY POINT OF VIEW offers many of the same early Hancock signature moments, but with an expanded palette that reflects the pianist's growing experience. A larger ensemble helped to broaden the range of this release as Blue Note regulars Donald Byrd, Hank Mobley, and Grant Green add to Hancock's sonic textures. Also on board are the advanced trombonist Grachan Moncur III, Bill Evans' bassist Chuck Israels, and the young drum wonder Tony Williams. As with "Watermelon Man" (the opener on TAKIN' OFF), the opening "Blind Man, Blind Man" is a simple, funky groove that serves to attract non-jazz listeners and invite them into Hancock's creative world. More traditional selections like the delightful "A Tribute to Someone" and the bouncing blues number "And What if I Don't" offer Hancock's masterful take on the standard format. Of special note is the centerpiece track, "King Cobra," an inventive piece that captures stunning work by Byrd, Mobley, Moncur, Hancock, and the ferocious Williams on the fade-out. Also included is a second take of the opening number as a closing bookend.

One of the most open-eared and forward-thinking jazz musicians of his day, Hancock has, more than just about anyone else, consistently tried to broaden the music's horizons by mixing it with the most interesting elements of contemporary pop. Hancock has consistently pushed the envelope, from his earliest days with Miles Davis to his jazz-rock fusion of the early '70s and his early embrace of synthesizers and electronic instruments, his early-'80s experiments with hip-hop and sampling, or more recently, his acoustic piano reinterpretations of songs--the new standards, in his parlance--by everyone from Don Henley to Nirvana.

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