I feel compelled to add to this post because if someone were unfamiliar with the recording this post could give a wildly off the mark impression of what Hancock and crew have accomplished.
First off, the album's sonics. It's not a minimalist audiophile recording, but in no way is it highly compressed or otherwise unlistenable.
Second, Joni Mitchell appears on the album, so no, she's not crying a river. The album was produced by Larry Klein, Mitchell's long time collaborator.
Third, in no way could the music be considered smooth jazz. Commercially oriented, yes, but is it really any news that Herbie Hancock has commercial leanings? Unlike smooth jazz the album is musically challenging. It requires active listening and it cannot be appreciated in one or two listens. Joni Mitchell is a very unique writer/singer and I think Hancock gets that uniqueness and doesn't try to impose his genius on top of Joni's. He lays it out, explores and caresses her music, much like early and mid-60s Miles would meditate upon a theme. It no coincidence that one of the two non-Mitchell songs is "Nefertiti".
Here are some professional opinions on the album --
The New Yorker
All About Jazz
The New York Times
This album was released the same day as Mitchell's "Shine". In the past year I've listened to Hancock's record quite a bit more than Mitchell's.
First off, the album's sonics. It's not a minimalist audiophile recording, but in no way is it highly compressed or otherwise unlistenable.
Second, Joni Mitchell appears on the album, so no, she's not crying a river. The album was produced by Larry Klein, Mitchell's long time collaborator.
Third, in no way could the music be considered smooth jazz. Commercially oriented, yes, but is it really any news that Herbie Hancock has commercial leanings? Unlike smooth jazz the album is musically challenging. It requires active listening and it cannot be appreciated in one or two listens. Joni Mitchell is a very unique writer/singer and I think Hancock gets that uniqueness and doesn't try to impose his genius on top of Joni's. He lays it out, explores and caresses her music, much like early and mid-60s Miles would meditate upon a theme. It no coincidence that one of the two non-Mitchell songs is "Nefertiti".
Here are some professional opinions on the album --
The New Yorker
All About Jazz
The New York Times
This album was released the same day as Mitchell's "Shine". In the past year I've listened to Hancock's record quite a bit more than Mitchell's.