Herbie Hancock Trio Ron Carter Tony Williams

Herbie Hancock recorded for Columbia between 1972 and 1988. During that period, between the label's American and Japanese divisions, he released 31 albums, both solo and with an astonishing variety of players in an equally breathtaking panorama of styles, from straight-ahead post-bop, to fusion, jazz-funk, disco, R&B, smooth jazz, and even hip-hop. Though Hancock had a celebrated career before signing to Columbia, it was his longest label association; and during his tenure there, he experienced his greatest commercial success and his name was etched permanently into the history of popular music. This box set contains 34 discs – 28 single and three double albums – all housed in handsome individual LP and gatefold sleeves.

Ron Carter - 1+3 (1978) {JVC Japan VDJ-1032 rel 1986}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 239 Mb | MP3 @320 -> 110 Mb
Full Artwork @ 300 dpi (jpg) -> 6 Mb | 5% repair rar
© 1978, 1986 JVC / Victor Japan | VDJ-1032
Jazz / Hard Bop / Post Bop / Bass

Exactly the kind of impressive, high level playing and interaction you'd expect from this trio. Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams comprised the rhythm section on many '60s Miles Davis classics; nearly three decades later, they're still in sync with each other. While it's Carter's session, there's really no leader or followers, just three wonderful musicians fully attuned to each other.

The first 2cd collection to span herbie hancock's entire career, from 1962 debut lp to 2000 collaboration with stevie wonder. Includes previously unreleased 1978 live concert duet with joni mitchell on "goodbye pork pie hat" from mingus plus appearances with dexter gordon, freddie hubbard, sonny rollins, ron carter, tony williams, miles davis, wayne shorter, joe henderson, harvey mason, bill laswell, and more!

My Point of View and Inventions and Dimensions found Herbie Hancock exploring the fringes of hard bop, working with a big band and a Latin-flavored percussion section, respectively. On Empyrean Isles, he returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams - a trio just as young and adventurous as he was - Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock's four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove…

Considering the extraordinary talent assembled for Tony Williams' second Blue Note date as a leader, this could have been a landmark session. Unfortunately, it's not. Spring isn't totally forgettable; on the contrary, the fire expected by members of the Miles Davis Quintet (Williams, Herbie Hancock and Wayne Shorter), all thoroughly influenced by "the new thing," were unleashed completely from Miles' tight rein. Add tenor saxophonist Sam Rivers and Albert Ayler bassist Gary Peacock into this mix and that influence thrived. However, the five Tony Williams compositions (including the drum only "Echo") often failed to provoke the musicians into reaching crucial unity, making Spring haphazard, falling short of the expected goal. Following Spring, Williams would not release another solo date for four years, returning on the Polydor label with the groundbreaking electric rock trio recording Emergency!

The all-star rhythm section for the former Miles Davis Quintet is represented here in a trio format.These guys came to play,and they pull out all the 'stops' for this session.Herbie presents some original tunes,and a great intepretation of 'Stella by Starlight'.The soloing is over the top.These three always play well together,and it is a real treat to here them in a trio setting.

This would be the drummer's last recording, cut six months before he died. It shows Williams in a more conciliatory mood, sublimating his huge chops and bombastic style for subtler shadings and support for pianist Mulgrew Miller and bassist Ira Coleman, while lessening none of his indefatigable swing. This was also the last band Williams toured with, indicating he was committed to and comfortable with the acoustic piano-bass-drums format. It's a setting he had never really fully exploited over his years of leadership, no doubt inspired by the Herbie Hancock-Ron Carter partnership within the Miles Davis quintet of the mid-'60s.