The Herbie Hancock Group-Head Hunters (1973)

Once Herbie Hancock concluded his "Mwandishi" period (essentially a fusion of free jazz, modal jazz, and tribal sounds), he returned to a more conventional, funk-infused jazz style with the release of "The Herbie Hancock Group: Head Hunters". For this album, Hancock reunited his band Sextant, which included Bennie Maupin, Paul Jackson, Harvey Mason, and Bill Summers. Comprising four expansive tracks, from the opening "Chameleon", Hancock makes it clear that the material presented here differs considerably from his previous work. A tour de force in clear jazz-funk style, the jazz-rock influences of "Bitches Brew" are represented in the dynamic "Sly" and the ethereal, atmospheric "Vein Melter", while the jazz-fusion track "Watermelon Man" provides the most accessible moment on the entire album. This "Head Hunters" is, along with works such as "Crossings" (1972), "Sextant" (1973), "Thrust" (1974), "Man-Child" (1975) or "Mr. Hands" (1980), the creative pinnacle of one of the greatest jazz rock pianists in history.

Herbie Hancock-Future Shock (1983)

Like other musicians such as Miles Davis and David Bowie, Herbie Hancock always embraced the new musical trends of his time, sometimes yielding great results, though often not so much. This was the case with his thirtieth studio album, "Future Shock", where the African American keyboardist radically altered his career by fusing hip-hop, electronic boogie, and danceable rhythm and blues. Amidst the effervescent hip-hop movement of that era, influenced by African beat sounds and Black American music, Hancock crafted an album that, beneath his signature funk/jazz rhythms, incorporated other avant-garde sonic elements, creating a contagious and addictive work. Part of the album's success is also due to bassist and producer Bill Laswell, who rose to prominence in New York's creative post-punk jazz scene and from there to superstardom with the massive success of this release. Similarly, another driving force behind the album was Grand Mixer DST, who transformed the newfound skill of scratching into an art form and added cutting-edge, creative soundscapes to most of the tracks. Between Herbie, DST, and Bill, they created an album brimming with unforgettable melodies and rhythms. The catchy tune of "Rockit", the elegant, exotic fusion of "Earth Beat", and the electro-funk of "Autodrive" helped secure this album a privileged place in music history, far beyond the 1980s.

Herbie Hancock-Man-Child (1975)

Released during Herbie Hancock's funk-jazz-rock era, "Man-Child" is his most acclaimed work within that subgenre. Featuring a larger lineup than his usual band of the time, the Head Hunters, this album boasts a stellar roster of musicians, including Harvey Mason (drums), Paul Jackson (bass), Ernie Watts (saxophone), Wayne Shorter (soprano saxophone), Stevie Wonder (harmonica), Bennie Maupin (wind instruments), and Melvin Watson (guitar and synthesizers), among a dozen others. However, despite this impressive group of talented instrumentalists, it is primarily Herbie Hancock who intelligently deploys his arsenal of keyboards and synthesizers, becoming the driving force behind all the album's songs, perfectly supported by the energetic arrangements of the wind instruments and the funky rhythm section. That varied jam of instruments proclaims pieces like "Hang Up Your Hang Ups", "Sun Touch", "The Traitor", "Steppin'in It" or "Heartbeat", as one of the discographic gems of jazz rock fusion with funk rhythms, reaffirming Hancock as one of the great innovators of the most avant-garde jazz of the 70s.

Herbie Hancock-Crossings (1972)

"Crossings" was Herbie Hancock's tenth album and the second of his "Mwandishi" period, his era of experimentation with electronica and funk. It was also the first album to feature a new member in the Chicago-born musician's band: keyboardist Patrick Gleeson, an experienced player with synthesizers, mini-Moogs, and cutting-edge electronics. Considered one of the best albums of abstract jazz fusion, it features electronic sounds, African polyrhythms, and superb psychedelic production that pays meticulous attention to detail, creating a futuristic jazz style. An album that, four decades later, still sounds incredibly ahead of its time. Composed of only three tracks, the first side focuses on the expansive "Sleeping Giant", a vast, futuristic African suite that alternates intense avant-funk improvisations with darker passages. Herbie Hancock's performance during the abstract improvisations is incredibly intense, showcasing his mastery in constructing cohesive and original sounds. He also demonstrates his genius for composition and modern orchestration, utilizing his horn section and electronics to build mini-orchestral textures reminiscent of classics like Stravinsky and Ravel. The ability to compose at such a sophisticated level is one of the things that sets Hancock and the members of his band, The Sextant, apart from other psychedelic ensembles of their time. The second side is dedicated exclusively to the virtuoso wind instrument player Bennie Maupin, who also demonstrates his writing and orchestration skills, transforming two incredible and superb pieces into delightful melodies. The first track is the tense and mysterious "Quasar", featuring a futuristic soprano melody similar to the classic Star Trek theme. Much of the performance of this song is abstract and improvised, but the musicians remain calm and focused, avoiding indulgent improvisational clichés. The resulting music is delicate and sensitive, far removed from the 'freak out' avant-jazz cliché, with melodies that often recall Mussourgsky, Stravinsky, and many others from the sound of early 20th-century Russian or French chamber music. The second side closes with "Water Torture", in which a deep, slow bass line doubled on the bass clarinet sounds like a cross between a slow funk rhythm and a dark Russian composition, highlighting Hancock's Mellotron electronics and a carefully orchestrated trumpet section, achieving a futuristic orchestral sound. However, despite the superb instrumental performances and the enormous composition, it is the producer David Rubinson who is the true protagonist of this album, one of the most meticulously produced with every single note, reverberation, echo, and volume carefully considered… a titanic work of millimeter-by-millimeter attention to detail, resulting in an absolute sonic masterpiece