[DOC] You'll Know When You Get There: Herbie Hancock and the Mwandishi Band by Bob Gluck in Arts-Photography

Review

1 of 1 people found the following review helpful. Finally.By Superintendent XFrom the moment I heard the Herbie Hancock Mwandishi Band albums Mwandishi and Crossings I was amazed with these recordings and equally amazed with the lack of information about them. This book is a great read that discusses the development of Herbie through this period. breaks down the music. the live touring of the sextet. and includes a detailed discography of about 100 recordings that are relevant to the music of the Mwandishi band.0 of 1 people found the following review helpful. I recommend it highlyBy Danny L. AndersonVery little has been written about one of the most creative phases of Herbie Hancocks career - the Mwandishi band. This book is very thorough and is a must read from start to finish. I recommend it highly!6 of 6 people found the following review helpful. jazzmanBy James K. StewartIf youre a fan of the great jazz pianist/composer Herbie Hancock and especially. the fabulous cosmic/jazz groupthe Mwandishi Band that he led back in the early 70s. then this marvelous book by jazz historian. pianist. andmusic professor Bob Gluck is for you. I have waited for years for an in-depth. comprehensive study of HerbiesMwandishi band (of which Im a rabid fan). and his book PERFECTLY does this. Gluck does a masterful job in co-vering the early roots of the band. how it evolved over time. the musicians involved. their philosophy and goals.the daring chances they took with the music. how they created it. and so much more. The Mwandishi band madethree studio albums. "Mwandishi" (1971). "Crossings" (1972). and their final swan song. "Sextant" (1973). all ofthem highly electronic. revolutionary. cosmic. improvisational excursions into uncharted territory. "Mwandishi" wasHerbies Swahili name for the "Composer". The other members of the band. which was a sextet. adapted Swahilinames. as well. This was done "for the unifying effect in that when everyone adopted those names it had the ef-fect on each individual joining. They became a unit. It was like we became a family. you know?" Trombonist JulianPriester became Pepo Mtoto which meant "Spirit Child". bassist Buster Williams was "Mchezaji" meaning the "Playerof the Art". Drummer Billy Hart was "Jabali" which meant "Energy". trumpeter Dr. Eddie Henderson became "Mgan-ga". the "Doctor of Good Health". and reedman Bennie Maupin was "Mwile At Akya". the "Body of Good Health". ashe was the vegetarian in the group. In mid 1972. synthesizer wizard Dr. Patrick Gleeson joined the sextet addingeven more sound and texture to the groups studio music and touring performances. Author Gluck goes into well-researched. great detail in his examination of how the band formed their identity and the personalities involvedfrom production to creation. Hancock described the inevitable end of such a revolutionary. progressive band saying."At a certain point. my feeling was we had gone as far as we could. I just didnt feel there was any more develop-ment that I was capable of producing." He also wanted more smoothness and dependability than an experimentalband provided: "The problem with intuition is that as soon as the vibrations arent happening. nothing works any-more." $ was also a contributing factor: "The sextet disbanded because I ran out of money. I could get gigs. butthey wouldnt pay enough for the expenses. I always lost money." Producer David Rubinson related just before therecording of "Sextant". "What paid their way was every dime Herbie Hancock had. every single sweat-dollar Pillsburycake mix commercials and European sales of Watermelon Man. and what happened was that Herbie. and thosefrom whom he borrowed. ran out of money." Even a business collective with the band was suggested. but it wasnta model upon which everyone could agree. Trumpeter Henderson stated. "As far as Im concerned. it was Herbiesband. even though we wanted to call it our band." As such. the inevitable happened. Hancock was also wanting totake the synthesizer and electronics in a new direction; the mega-selling 1973 album "Head Hunters" was the re-sult. with Herbie keeping reedman Bennie Maupin from the Mwandishi sextet. There was actually a FOURTH studiorecording released by the Mwandishi band which was a very limited distribution 1973 vinyl album on the UAR label(7370) scored for the soundtrack to a 1973 black militancy film. "The Spook Who Sat By The Door". based on SamGreenlees 1969 novel. set in Chicago. and directed by Ivan Dixon. The film was pulled from theaters soon after itsrelease. as it was deemed too politically controversial. but the rare soundtrack can still be found with some looking.It contains thirteen tracks by the band and has a much more funky vibe to it than the other Mwandishi recordings.Gluck compared it to Herbies 1974 album "Thrust" by his Headhunters band. I have a mint condition copy I guardwith my life. If you love the brilliant. mind-bending Mwandishi records. then "Youll Know When You Get There" isrequired and rewarding reading. One of the best books on jazz Ive ever read. A triumph!