Flood [Remaster]

Performer: Herbie Hancock
Engineer: Tomo Suzuzki
Producer: David Rubinson
Distributor: MSI Music Distribution

Notes: FLOOD is a 1975 live double-CD by the jazz great Herbie Hancock. This CD is from Hancock's electric period. Personnel: Herbie Hancock (vocals, piano, Fender Rhodes piano, Clavinet, keyboards, synthesizer, ARP synthesizer); Blackbyrd McKnight (guitar); Bennie Maupin (flute, bass clarinet, soprano saxophone, tenor saxophone, percussion); Mike Clark (drums); Bill Summers (congas, percussion). Audio Remixer: David Rubinson. Recording information: Nakano Sun Plaza, Tokyo, Japan (06/28/1975-07/01/1975); Shibuya Koukaido (06/28/1975-07/01/1975). Director: Keiichi Nakamura. Photographer: Shigeo Anzai. Herbie Hancock and the Headhunters take to the road in the live double album Flood, recorded and released only in Japan. Contrary to the impression left by his American releases at this time, Hancock was still very much attached to the acoustic piano, as his erudite opening workout on "Maiden Voyage/Actual Proof" with his funk rhythm section makes clear. The electric keyboards, mostly Rhodes piano and clavinet, make their first appearances on side two, where Hancock now becomes more of a funky adjunct to the rhythm section, bumping along with a superb feeling for the groove while Bennie Maupin takes the high road above on a panoply of winds. Except for "Voyage," the tunes come from the Head Hunters, Thrust, and Man-Child albums (another reason why this was not released in the U.S.). "Chameleon" comes with a lengthy outbreak of machine pink noise that attests to Hancock's wide-eyed love of gadgetry. In all, this was a great funk band, not all that danceable because of the rapid complexities of Mike Clark's drumming, and quite often, full of harmonic depth and adventure. ~ Richard S. Ginell

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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