Jazz Moods: 'Round Midnight

Performer: Herbie Hancock
Producer: Richard Seidel (Compilation)
Distributor: Sony Music Distribution (

Notes: Part of the Sony Jazz Moods budget-line series, this 11-track disc harvests selections from all over the place in Herbie Hancock's career recording for Columbia, predominantly focusing on the era between Hancock's explorations into jazz fusion and his early-'80s forays into electronic music. There's a generous portion of standards here, like "On Green Dolphin Street," "Some Day My Prince Will Come," "My Funny Valentine," and "'Round Midnight," but the shining moments come from the inclusion of performances with mentor Miles Davis' legendary band from the '60s on "Little One" and "Circle." While it is by no means an inclusive survey of his career, it's a nice compact little session that most casual fans will find a gateway to greater depths of Herbie Hancock's catalog. ~ Rob Theakston Herbie Hancock is one of the most influential pianists to emerge in the latter half of the 20th century. Since he appeared on the scene in 1960, Hancock has been praised for his skill as both a performer and a composer. His ability to construct knotty solos that seem to float effortlessly over the bar line is but one of his talents. In general, Hancock possesses a unique ability to take complex music and make it resonate with soul. On JAZZ MOODS: 'ROUND MIDNIGHT, compilation producer Richard Seidel put together a sampling of some of the pianist's finest recorded moments, though this disc only concentrates on Hancock's acoustic side (he also made considerable forays into electric funk and hip-hop). Highlights on this JAZZ MOODS installment include "Circle," a steamy ballad performed by Miles Davis's second great quintet, and a wonderfully creative solo-piano rendition of "Someday My Prince Will Come." However, the most beautiful moment on this compilation is, appropriately enough, Hancock's gorgeous version of "'Round Midnight," which features the muted trumpet-like scatting of Bobby McFerrin.

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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