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the last album with his Mwandishi Band.
Sextant was Herbie Hancock's first album on Columbia Records. It was a complex, harmonically and rhythmically challenging musical statement.[citation needed] Hancock was no stranger to electronic music, having used synthesisers extensively during his short time with Warner Bros. Records, but Sextant took his sound to a new level.
Made up of just three tracks, the funkier elements of tracks such as "Hornets", also point toward the commercial success he would enjoy in the 80s
with Sextant's poor album sales influencing his move into more mainstream music with Head Hunters.
 
"Rain Dance" - 9:16 小號
"Hidden Shadows" - 10:11 一秒讓你知道 這是放客 0300 同時也還讓你知道這是首爵士
"Hornets" - 19:35 歌一下 直接將我擊倒 鼓/貝斯
 

Personnel[edit]

 

Credits

 

the album features a kind of post-modal, free impressionism while gracing the edges of funk
The three long tracks are exploratory investigations into the nature of how mode and interval can be boiled down into a minimal stew and then extrapolated upon for soloing and "riffing." In fact, in many cases, the interval becomes the riff, as is evidenced by "Rain Dance." The piece that revealed the true funk direction, however, was "Hidden Shadows," with its choppy basslines and heavy percussion -- aided by the inclusion of Dr. Patrick Gleeson and Buck Clarke.
The true masterpiece on the album, though, is "Hornets," an eclectic, electric ride through both the dark modal ambience of Miles' In a Silent Way and post-Coltrane harmonic aesthetics. 
 
However, in 1973 Herbie pushed the envelope a little further using what would become known as his Mwandishi group (inspired by Swahili names used by the band in an almost proto Wu-Tang stylee!).
 
Sextant (1973) is perhaps the best example of this experimental side to Herbie Hancock. Three tracks in all, each one longer and freaker than its predecessor.
 
steady bass-bubble groove.
 
a fresh blend of African polyrhythms, melodic brass and layer after layer of tripped-out keyboard sounds.
 
“Rain Dance” begins with, well, imagine the sound of water slowly drip, drip, dripping onto the metal floor of an empty submarine. This submarine then suddenly drops 20,000 leagues beneath the sea of shrieking horn stabs, switches on the acoustic bass propulsion jets and cruises through the waters of electronic jellyfish and percussive sea critters.多采多姿
 
Nowadays we'd call this music electronica or ambient, but in 1973 it was called “an unlistenable mound of dung that’s best ignored”.
 
 
 
這篇寫得不錯 還附內頁
 
Springett’s scene might be nightmarish but for the fact that the dancers appear to be communing ecstatically with their surroundings. Serious magic is at work here, there’s a congruence of signs which the viewer may not understand independently, but the shaman will be our guide through this blue night. There is a fourth world confluence here which, alongside Tadanori Yokoo’s visionary artwork for Miles Davis’s Agharta makes for a clear signpost pointing to Jon Hassell’s explorations.
 
 
Sextant
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