Herbie Hancock records his ninth album : ‘Mwandishi’ for Warner Bros. (1970)

Herbie Hancock‘s ‘Mwandishi’ is his ninth album rRecorded in December 1970,

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1 . w/ Mwandishi, Molde, 1971

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Track Listing : 1.Ostinato (Suite For Angela) (Herbie Hancock) – 13:10 . 2.You’Ll Know When You Get There (Herbie Hancock) – 10:22 . 3.Wandering Spirit Song (Julian Priester) – 21:26

Musicians : Herbie Hancock – Fender Rhodes Piano . Buster Williams – Bass . Billy Hart – Drums . Eddie Henderson – Trumpet, Flugelhorn . Bennie Maupin – Bass Clarinet, Alto Flute, Piccolo . Pepo Mtoto – Tenor Trombone, Bass Trombone . Julian Priester – Tenor Trombone, Bass Trombone . Ronnie Montrose – Guitar On (1) . Leon “Ndugu” Chancler – Drums And Percussion . José “Chepito” Areas – Congas And Timbales On (1)

Production : Produced By David Rubinson Fred Catero – Engineer

Package : Robin Mitchell – Cover Design . Stuart Nicholson – Liner Notes . Bonnie Schiffman – Cover Design

Recorded In December 1970 At Wally Heider Recording Studio C, San Francisco.

Released In March 1971 By Warner Bros..

(Source Herbie Hancock – Mwandishi | Mwandishi | Herbie Hancock: The Official Site)

Herbie Hancock
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nickdimaria
My master’s thesis on Herbie Hancock’s Mwandishi bandHancock solos with a percussive edge, looking as though he is giving the fender rhodes a thrashing it hasn’t ever experienced. Then without warning Hancock slides up the keyboard with the back of his hand and the whole rhythm section plays a riff. […]

Red Bull Music Daily
Herbie Hancock’s Mwandishi YearsTaking its lead in places from Miles’ In a Silent Way, the record was spacey and experimental, joining the acoustic with the electric and darting into the wild while remaining rooted in jazz rhythms. […]

onethink @ RateYourMusic
Coming back to this album after a few years I find it more impressive than I remembered: it might be in the shadow of Davis but it is not unimaginatively derivative, it’s just a lighter sort of Miles – and I don’t necessarily mean lightweight, but light in tone compared to Davis’s more monumental sounds. […]

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