Herbie hancock rock it download

Digital Downloads are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Just purchase, download and play! You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use i. This name will appear next to your review. Leave it blank if you wish to appear as "Anonymous". Used to contact you regarding your review.

If you do not wish to be contacted, leave it blank. Tell a friend or remind yourself about this product. We'll instantly send an email containing product info and a link to it. You may also enter a personal message. We do not use or store email addresses from this form for any other purpose than sending your share email. Sorry but your review could not be submitted, please verify the form and try again. Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician!

Easily share your music lists with friends, students, and the world. Herbie Hancock Sheet Music. Score and Parts Set of Parts. This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties.

You consent to our cookies and privacy policy if you continue to use this site. Please see our Privacy Policy for details. By signing up you consent with the terms in our Privacy Policy.

I am a music teacher. Click to Enlarge. Be the first! Write a Review. December 2, am. Classic Herbie. I remember this one well. Great memories. DjPaulT djpault. Reply to Marco December 2, am. December 1, pm. Reply to Carlos December 2, am. Retro Hound. Reply to Retro Hound December 2, am. Reply to Grant December 2, am. December 1, am. While jazz is hardly the focus here it's not completely absent it's more of a sampled jazz pop kept from getting too wild in the confines of a funk groove.

While it sounds like a horrible idea as a hardcore progger and jazz stalwart i'm certainly not put off by simpler music with soulful lyrics and steady beats it's not the kind of album you'd expect from one of the fusion masters of jazz.

I can't say that MONSTER really stands out from the plethora of similarly sounding albums of the era and fails to produce any real zingers that make you want to return for listens.

This era would start the era of HANCOCK's unpredictable output but at this point its' safe to conclude that his best works remained in the past. On the newer remastered editions are several bonus tracks but in the end i'm quite satisfied with owning the original six tune release because that's about all i can really handle of this. On that album he employed the talents of bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson trumpet , Julian Priester trombone , and multi-reedist Bennie Maupin which despite resulting in a lackluster sales performance still managed to garner critical acclaim.

In addition to the seven main members, there are additional performers with congas and chorus vocals. The opening track 'Sleeping Giant' was monumental in scope. The near 25 minute track opens in an eruption of tribal percussion as if a war dance were being performed in the distant deepest jungles of the Congo.

This newest development displaysed HANCOCK's infatuation with the percussive explorations of Sun Ra's avant-garde jazz escapades that quietly fueled the underground jazz world of the 60s. While the percussive drive is completely outside the purview of the lockstep orthodoxies that the jazz world had settled into, the orgy of pummeling drums and congas juxtaposes the ancient traditional African rhythms alongside more sanctioned modern jazz styles.

The track subtly introduces electronic counterpoints until it finally erupts in the fully fueled funk fusion that provides the main harmonic drive throughout the album. The album is basically split between this lengthy track, originally as the entire side one on vinyl which was written by HANCOCK while the second side which contains the other two tracks were written by Maupin.

Around the seven minute mark the percussion ceases and it becomes a spacier form of spiritual jazz with both modal styled keyboard tinkling but the funk bass wrests control of the formless fluttering about of the angularity and nudges the the rhythmic groove back into the a more structured flow as if playing tug-of-war with the horn section's desire to go fully freeform.

Eventually the funk wins as it sounds more like the completely controlled funk fusion of the 'Fat Albert Rotunda' album. The track continues to drift in and out of funk and spacier airy fairy jazz until it reaches its conclusion. The middle track 'Quasar' is by far the shortest of the three but still extending past the seven minute mark.

A much more avant-jazz track, this one evokes the most 'out there' moments of Sun Ra's works such as 'Strange Strings' that eschew any known confines of tradition but the track slowly takes on more recognizable acoustic jazz characteristics with a plethora of freaky Moog sounds sputtering around like overdosing drug addicts at a party gone wrong tripping their brains out aimlessly about. Despite some of the moments of funk and fleeting moments of melody, 'Quasar' wins as the most surreal track on the album award as it evokes its namesake of a distant starlike extragalactic object with moments of clarity randomly emerging from the static.

This is really a weird track as the talking trumpets seem to be communicating with the acoustic jazz bass and funk-tinged keyboards. The ambient backdrop keeps the track in a constant state of distant surreality.

The second longest track is the grand finale 'Water Torture' which rightfully begins with some sounds emulating flowing water and a rather erratic tribal beat as if a surprise attack is eminent.

There is a lot of effort thrown into the intricately designed percussion as it casts a spell to paint the dots of the picture that the wind instruments and Moog sounds fill in with shades of colorful timbres and dynamics and even has moments of progressive big band fury. While it may not seem possible after the hypnotic unpredictability of 'Quasar,' this track of almost fourteen minutes evokes the ultimate psychedelic journey into the world of jazz where cohesion and complete breakdown drift in and out of sync.

Once again, the adventurous Earthly detachment of Sun Ra's influence is on display however the moments of funk, fleeting melodies and playfulness of the timbres, rhythms and dynamics showcase HANCOCK's idiosyncratic journey into similar musical arenas but treads his own sliver of this avant-sector of the jazz- fusion world.

While the following 'Sextant' would take things into the even stranger and more complex world of the avant-garde, CROSSINGS as its name implies is the perfect crossroads of sort for the funk-jazz fusion affairs of the previous two albums and even the complete abandonment of the paradigm set even on the 'Mwandishi' album.

CROSSINGS is really one of those albums that you simply have to experience to understand and not only experience once but many times in different moods and allow the various other-worldly effects to sink in. This is not an easy listening album to say the least as it entwines so many different music genres and twists them into new multi-faceted creations that sound like no other even within the Mwandishi Trilogy itself.

Given the complexity of the music it would seem there may be some classical influences underlying its magnanimous ability to continue an almost imperceptible melodic flow to the album's lengthy run as if the melodies themselves were twisted until obfuscation darkened all but the fleeting few that were allowed to surface from their banishment into another dimension. On top of the percussive elements, the octet also pushes the futuristic feel with electronic soundscapes which enhance the advanced harmonic concepts played by the band.

Mellotrons, clavinets, and a variety of synthesizers as well as an occasional acoustic piano played by Hancock provide a solid foundation whilst texturizing the music further. The rest of the members melodically play off the keys with a variety of instruments. These range from saxophones, clarinets, and trumpets to flugelhorns and Hum-A-Zoos. Naturally, a huge array of sonic capabilities is explored on the record, resulting in an incredible amount of color through sound.

Vivid Avant-tinged soundscapes are thrust on the listener throughout the album's minute runtime in an unapologetically brazen manner. Although Sextant fascinates with its unique sound, it can be slightly overwhelming at times. The mixture and modernization of the wide range of musical ideas seen on the record is rather jarring at times, proving undeniably esoteric. However, the record is more rewarding because of it, as musical ideas can be extrapolated from it in a seemingly endless fashion.

New themes and concepts transpire with each new listen. Sextant, Herbie's most innovative outing, is a truly remarkable album that cannot be properly experienced until heard, and it is absolutely advisable one does so. Time to groove. In , he formed The Headhunters, and soon released an album under that name. This new funky sound helped him expand his fan base by crossing over to pop genres. The 2nd album under The Headhunters name was 'Thrust' released in and it continued the sound started with the successful and acclaimed 'Head Hunters' album.

It also turned out to be a huge selling album and is still considered relevant and important today. It consists of 4 tracks spanning a total run time of 38 minutes. The tenor sax later takes over improvising off of the main riff, with plenty of keys supporting and at times taking over the lead.