![Herbie Hancock - Sextant (1973) [Reissue 2019] MCH PS3 ISO + DSD64 + Hi-Res FLAC](https://pixhost.icu/avaxhome/1e/1e18/1e1820ea5bb14915895e3777d2f7c0a7-17839428312964154488_medium.webp)
Herbie Hancock - Sextant (1973) [Reissue 2019] MCH PS3 ISO + DSD64 + Hi-Res FLAC
![Herbie Hancock - Sextant (1973) [Reissue 2019] MCH PS3 ISO + DSD64 + Hi-Res FLAC](https://pixhost.icu/avaxhome/1e/1e18/1e1820ea5bb14915895e3777d2f7c0a7-17839428312964154488.webp)
Herbie Hancock - Sextant (1973) [Reissue 2019]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 40:42 minutes | Scans included (LQ) | 2,55 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | 68:53 minutes | Scans | 1,94 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | 68:53 min | Scans (LQ) | 1,77 GB
Features 2x Stereo and Quadrophonic Surround Sound | Label: Vocalion # CDSML 8548
An incredible record - and virtually the blueprint for countless other keyboard records to come! At the height of his 70s powers, Herbie really takes off into space with this set - moving away from more commercial music, and hitting a groove that's totally righteous, totally electric, and completely mindblowing! The album's got a bit of a Headhunters vibe, but it also veers off into some very wild analogue electronics too - a mix of Fender Rhodes, clavinet, melotron, and echoplex processing - augmented by additional work on Arp from Patrick Gleeson. Other players on the set include Bennie Maupin on reeds, Eddie Henderson on trumpet, Julian Priester on trombone, Buster Williams on bass, and Billy Hart on drums, and the great Buck Clarke rounds out the combo on percussion.
When Herbie Hancock left Warner Bros. in 1971 after releasing three musically sound but critically and commercially underappreciated albums – The Crossing, Mwandishi, and Fat Albert's Groove – he was struggling. At odds with a jazz establishment that longed for his return to his Blue Note sound and a fierce consciousness struggle with free music and the full-on embrace of electricity since his tenure with Miles Davis, Hancock was clearly looking for a voice. Before diving into the commercial waters that would become Headhunters in 1973, Hancock and his tough group (including Billy Hart, Julian Priester, Dr. Eddie Henderson, Bennie Maupin, and Buster Williams) cut this gem for their new label, Columbia. Like its Warner predecessors, the album features a kind of post-modal, free impressionism while gracing the edges of funk. The three long tracks are exploratory investigations into the nature of how mode and interval can be boiled down into a minimal stew and then extrapolated upon for soloing and "riffing." In fact, in many cases, the interval becomes the riff, as is evidenced by "Rain Dance." The piece that revealed the true funk direction, however, was "Hidden Shadows," with its choppy basslines and heavy percussion – aided by the inclusion of Dr. Patrick Gleeson and Buck Clarke. Dave Rubinson's production brought Hancock's piano more into line with the rhythm section, allowing for a unified front in the more abstract sections of these tunes. The true masterpiece on the album, though, is "Hornets," an eclectic, electric ride through both the dark modal ambience of Miles' In a Silent Way and post-Coltrane harmonic aesthetics. The groove is in place, but it gets turned inside out by Priester and Maupin on more than one occasion and Hancock just bleats with the synth in sections. Over 19 minutes in length, it can be brutally intense, but is more often than not stunningly beautiful. It provides a glimpse into the music that became Headhunters, but doesn't fully explain it, making this disc, like its Warner predecessors, true and welcome mysteries in Hancock's long career.
Tracklist:
01. Rain Dance (2.0 & 4.0)
02. Hidden Shadows (2.0 & 4.0)
03. Hornets (2.0 & 4.0)
04. Rain Dance (SQ 2.0 Encoded Quad Mix)
05. Hidden Shadows (SQ 2.0 Encoded Quad Mix)
06. Hornets (SQ 2.0 Encoded Quad Mix)
Mwandishi (Herbie Hancock) – piano, Fender Rhodes, clavinet, Mellotron, ARP 2600, ARP Pro Soloist, Moog synthesizer
Mwile (Bennie Maupin) – soprano saxophone, bass clarinet, piccolo, afuche
Mganga (Eddie Henderson) – trumpet, flugelhorn
Pepo (Julian Priester) – bass trombone, tenor trombone, alto trombone, cowbell
Mchezaji (Buster Williams) – bass guitar, double bass
Jabali (Billy Hart) – drums
Patrick Gleeson – ARP 2600, ARP Pro Soloist
Buck Clarke – percussion
Mwile (Bennie Maupin) – soprano saxophone, bass clarinet, piccolo, afuche
Mganga (Eddie Henderson) – trumpet, flugelhorn
Pepo (Julian Priester) – bass trombone, tenor trombone, alto trombone, cowbell
Mchezaji (Buster Williams) – bass guitar, double bass
Jabali (Billy Hart) – drums
Patrick Gleeson – ARP 2600, ARP Pro Soloist
Buck Clarke – percussion
Recorded: late 1972 at Wally Heider, San Francisco & Different Fur Studios, SF, CA.
Remastered from analogue tapes by Michael J. Dutton.
NOTE: In addition to both the original stereo and discrete quadraphonic mixes, the SACD and PCM layers on this disc include the original SQ-encoded quadraphonic mix (tracks 4-6). The original discrete quadraphonic master no longer exists. Therefore, the best available discrete quadraphonic sources have been used for this reissue.
Back in the day, the album was released in both stereo and quadrophonic, and now for the first time it is available on Quad SACD, lovingly transferred from the original analog master tapes by Michael J. Dutton and released on his Vocallian label.
This quad release is a simple, yet creative use of the quadscape. Listeners will find themselves immersed with parts discretely placed all around the sweet spot, along with some fun use movement at key points. There are three long exploratory tracks which investigate the nature of how mode and intervals are boiled down and then strewn out into winding solos. The opening track “Rain Dance” kicks off the album with keyboards reverberating across the soundstage from the back left channel. Its percolating sound is augmented by horn blasts that may be interpreted as wind moving from the front to the rear channels. Dutton has cleaned up any residual tape noise, and defined the overall balance over the mix from the original master tapes. As the piece progresses, the interval becomes the riff which leads to the solo, blended with percussion emanating from the back right and horns falling in the front speakers, along with bass and drums up front.
Pay careful attention to the buzzing synth parts that are edge free and demonstrate why the SACD is such a wonderful replacement for the click and poppy analog vinyl media. Sextant is warm and seems to be absolutely analogous to the master tapes, bringing listeners right into the mixing studio.
A true funky direction is revealed on “Hidden Shadows,” exuding a choppy basslines and dominant percussion, all embellished by the additional synthesizer parts played by Patrick Gleeson and Buck Clarke hitting the congas and bongos. The blending of reverberant horns and closely miced percussion provide a real dichotomy to the mix which continues to surround the listener from all directions. Overall the piece has a real live feel with the bass hitting some nice lows and the drums feeling open with a bit of a club like sound to them. Hancock's piano is more in line with the rhythm section, providing a unified front during the abstract sections of the song, but this is just a lead in to the true masterpiece on the album.
The incredible piece “Hornets” closes out the album, with Dave Rubinson’s production skills taking listeners through an eclectic and electric journey across a dark modal ambience and harmonic dissonance, underpinned by a groove which gets turned inside out by Priester and Maupin all while Hancock accenting with the synth in sections. This 19 minute piece absolutely opens up in the quad space, with keyboard parts flying from side to side with brutal intensity all while being stunningly beautiful, providing a glimpse into the music that was forthcoming on his next release “Headhunters.”
For stereophiles, the DSD 2.0 layer of course flattens the mix, and I found it to be slightly warmer with a bit less brilliance at the top end. Sure beats the CD version that had been in my collection for many years, and for those with SQ decoding capability, the album is repeated in SQ on tracks 4 to 6 on the stereo layer. This is the first time I recall running across an SQ version embedded on an SACD, and while I don’t have the decoding equipment, I welcome this from an archival perspective, along with a little nudge to myself to possibly pick up a SQ decoder!
Every Vocallion SACD in my collection sounds excellent, and this latest reissue of Herbie Hancock’s album Sextant maintains their level of excellence. Fans of fusion jazz, improvisational jazz, Herbie Hancock, and any of the other musicians found on this release are strongly recommended to pick up this quad edition. Especially recommended for surround sound, or more specifically quad enthusiasts, as Sextant delivers an impactful mix that makes this a demo worthy quad disc.
– Written by Wesley Derbyshire, hiresedition-com
This quad release is a simple, yet creative use of the quadscape. Listeners will find themselves immersed with parts discretely placed all around the sweet spot, along with some fun use movement at key points. There are three long exploratory tracks which investigate the nature of how mode and intervals are boiled down and then strewn out into winding solos. The opening track “Rain Dance” kicks off the album with keyboards reverberating across the soundstage from the back left channel. Its percolating sound is augmented by horn blasts that may be interpreted as wind moving from the front to the rear channels. Dutton has cleaned up any residual tape noise, and defined the overall balance over the mix from the original master tapes. As the piece progresses, the interval becomes the riff which leads to the solo, blended with percussion emanating from the back right and horns falling in the front speakers, along with bass and drums up front.
Pay careful attention to the buzzing synth parts that are edge free and demonstrate why the SACD is such a wonderful replacement for the click and poppy analog vinyl media. Sextant is warm and seems to be absolutely analogous to the master tapes, bringing listeners right into the mixing studio.
A true funky direction is revealed on “Hidden Shadows,” exuding a choppy basslines and dominant percussion, all embellished by the additional synthesizer parts played by Patrick Gleeson and Buck Clarke hitting the congas and bongos. The blending of reverberant horns and closely miced percussion provide a real dichotomy to the mix which continues to surround the listener from all directions. Overall the piece has a real live feel with the bass hitting some nice lows and the drums feeling open with a bit of a club like sound to them. Hancock's piano is more in line with the rhythm section, providing a unified front during the abstract sections of the song, but this is just a lead in to the true masterpiece on the album.
The incredible piece “Hornets” closes out the album, with Dave Rubinson’s production skills taking listeners through an eclectic and electric journey across a dark modal ambience and harmonic dissonance, underpinned by a groove which gets turned inside out by Priester and Maupin all while Hancock accenting with the synth in sections. This 19 minute piece absolutely opens up in the quad space, with keyboard parts flying from side to side with brutal intensity all while being stunningly beautiful, providing a glimpse into the music that was forthcoming on his next release “Headhunters.”
For stereophiles, the DSD 2.0 layer of course flattens the mix, and I found it to be slightly warmer with a bit less brilliance at the top end. Sure beats the CD version that had been in my collection for many years, and for those with SQ decoding capability, the album is repeated in SQ on tracks 4 to 6 on the stereo layer. This is the first time I recall running across an SQ version embedded on an SACD, and while I don’t have the decoding equipment, I welcome this from an archival perspective, along with a little nudge to myself to possibly pick up a SQ decoder!
Every Vocallion SACD in my collection sounds excellent, and this latest reissue of Herbie Hancock’s album Sextant maintains their level of excellence. Fans of fusion jazz, improvisational jazz, Herbie Hancock, and any of the other musicians found on this release are strongly recommended to pick up this quad edition. Especially recommended for surround sound, or more specifically quad enthusiasts, as Sextant delivers an impactful mix that makes this a demo worthy quad disc.
– Written by Wesley Derbyshire, hiresedition-com
foobar2000 2.1 / Dynamic Range Meter 1.1.1
––––––––––––––––––––––––––––––––––––––––
Analyzed: Herbie Hancock / Sextant
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR8 -6.28 dB -24.13 dB 9:29 01-Rain Dance
DR7 -6.05 dB -21.94 dB 10:25 02-Hidden Shadows
DR8 -6.30 dB -24.06 dB 20:47 03-Hornets
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 3
Official DR value: DR8
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 6
Bits per sample: 1
Bitrate: 16934 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Herbie Hancock / Sextant
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -5.57 dB -23.05 dB 9:17 01-Rain Dance
DR12 -6.17 dB -20.96 dB 10:15 02-Hidden Shadows
DR12 -5.98 dB -21.07 dB 19:37 03-Hornets
DR12 -7.25 dB -22.26 dB 9:18 04-Rain Dance (SQ Encoded Quad Mix)
DR12 -6.30 dB -20.80 dB 10:12 05-Hidden Shadows (SQ Encoded Quad Mix)
DR13 -5.83 dB -22.65 dB 20:20 06-Hornets (SQ Encoded Quad Mix)
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 6
Official DR value: DR13
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DST64
––––––––––––––––––––––––––––––––––––––––
Analyzed: Herbie Hancock / Sextant
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR8 -6.28 dB -24.13 dB 9:29 01-Rain Dance
DR7 -6.05 dB -21.94 dB 10:25 02-Hidden Shadows
DR8 -6.30 dB -24.06 dB 20:47 03-Hornets
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 3
Official DR value: DR8
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 6
Bits per sample: 1
Bitrate: 16934 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Herbie Hancock / Sextant
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -5.57 dB -23.05 dB 9:17 01-Rain Dance
DR12 -6.17 dB -20.96 dB 10:15 02-Hidden Shadows
DR12 -5.98 dB -21.07 dB 19:37 03-Hornets
DR12 -7.25 dB -22.26 dB 9:18 04-Rain Dance (SQ Encoded Quad Mix)
DR12 -6.30 dB -20.80 dB 10:12 05-Hidden Shadows (SQ Encoded Quad Mix)
DR13 -5.83 dB -22.65 dB 20:20 06-Hornets (SQ Encoded Quad Mix)
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 6
Official DR value: DR13
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DST64
Thanks to KingCrim!
Uncompressed SACD ISO size > 2,42 GB
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