VSOP (album)
| V.S.O.P. | ||||
|---|---|---|---|---|
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| Live album by Herbie Hancock | ||||
| Released | April 1977 | |||
| Recorded | 1976 | |||
| Genre | Jazz | |||
| Length | 86:35 | |||
| Label | Columbia | |||
| Producer | David Rubinson | |||
| Herbie Hancock chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |   |
| The Rolling Stone Jazz Record Guide | |
V.S.O.P. is an April 1977 jazz-funk fusion double live album by keyboard player Herbie Hancock featuring performances by the V.S.O.P. Quintet (Hancock, Freddie Hubbard, Wayne Shorter, Ron Carter & Tony Williams), the Mwandishi band with Eddie Henderson on two tracks, and The Headhunters featuring Bennie Maupin and Paul Jackson.
Excerpt from the LP liner notes:
"I thought it would be impossible to get people like Tony Williams or Ron Carter or Wayne Shorter or Freddie Hubbard in the same room at the same time, because so many of them are band leaders themselves. Wayne had told me later that he hadn't played that style in years - lots of fast eighth notes and long running flowing lines. This was really straight ahead jazz - walking bass, a swinging drum beat - but expressed through experiences of the musicians today. I thought of the days at Birdland when I used to sit in with Wayne Shorter, Lee Morgan or Freddie Hubbard. Freddie actually played on my first album, "Taking Off," and then played on 'Empyrean Isles' and 'Maiden Voyage.' I played on Freddie's albums, and it made logical sense to me to have Freddie Hubbard on trumpet. A strange thing happened when I went on stage with the first group. As we started to play, I got the feeling that no matter what I would play, these musicians were so gifted that they could make music out of anything. The feeling of freedom that came over me was overwhelming.
The Sextet that I used to have from 1969 through 1973, played not only the music it had created, but all of the very first music from when I first left Miles Davis in 1968, and got my own band together. The Sextet has a special place in my heart. I was doing the album 'Speak Like a Child' and I used flugelhorn, also flute and bass trombone as an experiment. The sound killed me so much I realized, that's the sound I want for my own band. The most difficult conception to recapture was the Sextet, because of how it was originally built. The Sextet's very foundations was the intuition, empathy, teamwork, unity, and spontaneous creativity of the members of a true ensemble. From the late sixties until 1973 we had been hanging out together, studying not only music but life. We explored together, trying to analyze the creative process. We grew on each other; we became like one and the music became like one. Billy Hart had to come the farthest. He was working in London with Stan Getz, and the 29th was his one night off. Somehow he managed to fly right from London to New York, rehearse, play the concert and get back on a plane for London. When the Sextet was at its best, the whole group was like a living body. It was a music of the moment, no regular changes, bars, or even tempo - but somehow, almost miraculously, the music would have a flow and order that made me feel like I was listening to the sound from all the planets. Trying to recapture that spirit was difficult, but it came off - it was really swinging.
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