I would expect a "slave" copy (master) used to dub Q8 tapes would sound quite a bit better than a Q8 does. In other words it would have far better values than the Q8 would, being a professionally copied reel, and not a fast dub like Q8s were done. What other USA Columbia 73-74 tapes are you referring to? The Q8 carts?
Ethan Iverson again, this time guiding us on a career-wide tour of Hancock--with the Mwandishi band his point of departure--and doing what Iverson does best: illuminating Herbie's accomplishments with the aid of musical-theory concepts that only insiders would normally understand, but in a way that laypeople can grasp. "Any quick attempt to describe or catalog Herbie Hancock will leave things out. The very sound of American music is unthinkable without his contribution."
(it's like water torture!)It's funny, I've never really thought in terms of the first track being weaker. I think I've just come at this album (and probably all of Herbie Hancock's albums really) from a whole album work concept, and so not considered tracks individually. But I think someone else here has also noted their dislike (or 'liking less') of the first track. I guess it's the repeated, electronic boing. It reminds me a little of Musique Electronique (e.g. a 70s [or 60s even] Ilhan Mimaroglu album I have where I think he comes up with similar sounds through tape manipulation of recorded sounds).
Anyway, thanks for the post ... as I see I haven't reviewed/rated this one yet. So from my whole album approach to this album musically, with it's amazing fidelity, discreteness and quirky sounds coming at you from all over the shop, this can be nothing less than a ten for me. And yes, absolutely agree, 'halfway between Miles and Sun Ra'.
boing boing
I tend to try to vote based on mix and fidelity, primarily. Though of course it's hard to separate my thoughts on the mix from the enjoyment of the music, I try my best to separate it as best as I can from my score.
