Binding: Audio CD
EAN: 4547366032963
Format: Hybrid SACD
Label: Sony / Bmg Japan
Manufacturer: Sony / Bmg Japan
Number Of Discs: 2
Publisher: Sony / Bmg Japan
Release Date: 2007-12-15
Studio: Sony / Bmg Japan

Japanese SACD hybrid disc pressing of Hancock's 1977 album features the digitally remastered stereo mix and the 5.1 mix. The SACD side is only playable on SACD players. The CD side is playable on most CD players. Sony.

Customer Rating:
Summary: All-time favorite
Comment: Thank you Patrick for the money-saving tip! I have been looking for this on CD since...I got a CD player. This was the record that really turned me on to jazz for good...listening to "Eye of the Hurricane" with headphones at age 16 was a life-changing experience. All 4 sides (of the original LP) are excellent, even the funk band.

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Customer Rating:
Summary: VERY SPECIAL ONE NIGHT PERFORMANCE FROM THREE VERY SPECIAL BANDS
Comment: FAIR WARNING;

Before I review this album, I thought I should let ya'll know not to buy this overpriced SACD. Go to www.amazon.co.uk and buy this double disc for half the price(That's even after you pay the foreign exchange rate and fee). They don't take long to ship and you'll get your CD in a week. Just thought I'll give ya'll the heads up.

THE REVIEW;
In the 70's Herbie Hancock recorded with four different bands. The Headhunters, Sextant, The Trio, and VSOP. He found most of his commercial success with the Headhunters. In spite of landmark recordings like "Headhunters" and "Thrust", The fire fizzled out rather quickly as Herbie electronic recordings became inconsistent. Ironically, his best albums during this period were live reinterpretations of his older material. Needless to say, it wasn't easy being a jazz musician in the late 70's with the onslaught of P Funk and disco.

On VSOP, it doesn't matter because it's one of Herbie's most inspired live albums. In jazz circles, this album is highly regarded for ushering in the neo-bop movement of the 80's(well...disc one should be given credit for that). Since the concert was crtically acclaimed, it prompted Mr. Hands to name a spin off group after the album title.

The double disc is divided by three of his bands with VSOP getting most of the space to shine throughout the first disc and the Sextant and Headhunters getting a even amount of time on disc two. Each disc provides a high level of consistency that makes it an effective summary of Herbie's music up to that point (even if it's a little skimpy by not diggin' deep)

As for the first disc, its VSOP at its tightest. All of the band members are playing off each others strength and weaknesses in way we will never hear again. There's a slew of dynamic solos with everyone holding their own with one another. Ron Carter's bass playing is not as weird as it would become on other VSOP releases, Wayne Shorter and Freddie Hubbard step up on the sax and trumpet respectively, Tony Williams dishes out his drum flurries, though his presence is not felt as much as it was on "Live under the Sky", and Mr. Hands supplies his usual colorful textures and paint fresh pictures on these compositions. The standout is the original "Eye of the Hurricane". Even though VSOP went on to release other live albums that were also stellar, they would never sound this tight again.

Disc two begin by covering his sextant era and it's just as good. Since the Sextant is considered the most musically ambitious of all his bands, I guess it make since that they got the most unique live performances on this album. Both "Toys" and "You'll know when you get There" are bursting with incredible solos and musical ideas that's risk taking yet musically inclined (they don't go off the deep end of free jazz here!). If the VSOP's musicianship was the tightest, the Sextant has the most intriguging musical themes on this set. Which brings me to the Headhunters that closes out this set with "Hang up your Hang ups" and "Spider". The two performances by the Headhunters are funky, but uninspired compared to those of VSOP and the Sextant. There are no dynamic solos or any other interesting spins on the originals. The performances are highly enjoyable for the funkiness it possess, but they end up sounding like extended club mixes of the regular versions rather than the jazz performances they're supposed to be.

Overall, I would say VSOP justifies its mythical status as a classic live album. It may not be as seminal as some of his groundbreaking studio albums, but the history it carries places it in a class of its own.

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