Rarely was an album so aptly titled as Herbie Hancock’s “Crossings” (1972). This experimental fusion of jazz, soul and funk in an avantgarde mode marks Hancock’s transition from more traditional, or hip, forms of jazz during the 1960s to his hard funk workouts with the Head Hunters (from 1973 onwards). In the end, those proved to be commercially more successful than the trio of releases Hancock recorded with his Mwandishi Sextet. “Crossings” is the second of these three albums, and while vastly experimental it is not yet as typified by electronics as the follow-up, “Sextant” (1973).

Miles Davis’ “Bitches Brew” pointed the way, looking to fuse jazz with the blues rock of Jimi Hendrix. Hancock too looked out to expand his musical horizon after his “Watermelon Man” was the most popular soul jazz piece of the ’60s. The radical change in his music is really a crossover into new territory. The Mwandishi albums, and “Crossings” in particular, are given over to group improvisations and the extensive use of dissonance. Hancock already adopted the electric piano as his new key instrument while still in Davis’ Quintet during the ’60s. In his own sextet he further explored the possibilities of this instrument, before adopting the synthesizer too – as a played instrument – on “Sextant.” On “Mwandishi” (1970) and “Crossings” Hancock let Patrick Gleeson use the synthesizer to create textures and sound effects, dubbed over the group improvisations.

The opening piece, “Sleeping Giant,” at nearly 25 minutes in length is a sprawling masterpiece that defines the whole tone of the album. Besides jazz, soul and funk, Hancock’s sextet also included dissonant sound textures reminiscent of Igor Stravinsky’s “Le Sacre du Printemps.” At the 11 minute mark a driving funk beat replete with wah wah sets in. The use of the moog synthesizer is prominent on “Quasar,” which does not only refer to cosmic events in its title, but actually sounds like the soundtrack to camp 1950s science fiction movies. While “Sleeping Giant” is the most impressive of the three numbers, “Water Torture” is the most haunting with its quietly menacing atmosphere and slow dark groove. On this piece, the mellotron – one of the key instruments of 1970s progressive rock – takes a prominent stance.
The music is the perfect melange of horns, synth soundscapes and elaborate percussion over a superb rhythm section. The playing is never less than formidable. The players are proficient in difficult time signatures, using tension and release as a technique throughout, leading to some very powerful crescendoes. In the musical imagery of “Crossings” the spiritual side is linked with images of space and the inspired use of the synthesizer, still regarded as strictly rock at that time. And, while the music is strongly sophisticated, the listener’s response is purely emotional. If you’re into progressive music, and especially the improvisations of mid-70s King Crimson, this is definitely one for you.

As a footnote it should be mentioned that Eddie Henderson, trumpet and flugelhorn player on the three albums, recorded his first two albums – “Realization” (1972) and “Inside Out” (1973) – with the Mwandishi Sextet as well. So there are actually five instead of three Mwandishi albums.

by artistxite