‘Man Child’, Herbie Hancock’s third album of jazz-funk, followed
hot on the tail of ‘Thrust’ which itself had swiftly followed the
groundbreaking ‘Head Hunters’. Released in 1975 to an expectant audience who
had clamoured to the previous rhythm and groove-laden works, ‘Man Child’ now
has oddly become one of Hancock’s slightly lesser-known works. ‘Thrust’ had in
less than a year changed Hancock’s sound from the raw and cool sounding funk,
into something more spacey and trippy with slightly more emphasis on the jazz
than the funk. Recording ‘Man Child’, he again changed his sound, this time
adding more layers to the ever-increasingly slick mix.
The brilliantly titled ‘Hang Up Your Hang-ups’ opens with some
classic sounding of-the-era rhythm guitars and blazing horn work. An awesome
funk-pop hybrid, it’s certainly one of Hancock’s most danceable numbers, and
the ending breakdown and piano solo come unexpectedly but perfectly. So perfect
in fact, that the standard is almost set too high for what has to follow.
‘Sun Touch’ is enjoyable and groovy, and ‘Steppin’ In It’ is also
hugely fun and invigorating, with a welcome and sunny guest spot from Stevie
Wonder on harmonica. But things begin to come undone with ‘The Trailor’/’The
Traitor’ (depending on which issue you get depends on how much spell-checking
went on) and ‘Bubbles’. The former has a real bite and power to it, but as with
much of Hancock’s later 70’s excursions gets repetitive very quickly, whereas
‘Bubbles’ is just frankly below average, and it’s inclusion sparks worrying
curiosity as to the quality control or even the inspiration this time around.
Regardless, having started on a high, things end equally
successfully, if distinctly differently. ‘Heartbeat’ is frenetic and twisting;
with the band sounding like they’re having a riot of a time, and Hancock gets
to close in style with a suitably inspiring solo. It’s up there with some of
his best.
All of the musicians here, and there are many, are on top form,
with all of the ‘Head Hunters’ and ‘Thrust’ alumni being present against a
whole slew more, including Wayne Shorter adding some very nice soprano work.
Occasionally though there are just too many instruments, layers and effects all
at one time. And with slightly flatter sounding production than before, it all
sounds just too slickly commercial. In parts it’s a good sound suiting the
pieces, in others it’s all too clean, almost as though someone forgot that part
of the earlier charm was that rawer and earthier heavy groove. Also, whereas
the previous two albums each contained just four long yet always interesting
numbers, the pieces here at times, although shorter, seem to go on for far too
long without ever hitting any kind of real direction.
‘Man Child’ ultimately sits at the top of the middle phase of
Hancocks funk odyssey. It was here that things started to get too polished and
lacking the same energy that infused the earlier works, but the majority is
good fun party music and is sure to appeal to fans of the funk.
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