“In the realm of jazz, few names shine as brightly as Herbie Hancock. A virtuosic pianist, composer, and innovator, Hancock has spent decades pushing the boundaries of his craft, earning a staggering 14 Grammy Awards along the way. Yet, amidst a career marked by boundless creativity and experimentation, one project stood still – stuck in a state of perpetual limbo. For 15 long years, Hancock’s album languished, its completion hindered by an unlikely culprit: YouTube. The same platform that has democratized music distribution and catapulted countless artists to stardom had become an all-consuming obsession for Hancock, distracting him from his art. As we explore the fascinating story behind this delayed album, we find ourselves confronting the darker side of inspiration, where creativity and distraction blur into a haze of procrastination.”
The Rise of Stanley Clarke
Early Influences: Clarke’s High School Days
For many jazz enthusiasts, the inception of their fascination with the genre often begins in adolescence, and for Themarketactivity’s audience, this was no different. Clarke’s early exposure to jazz fusion and smooth jazz came through local radio stations, which played a mix of artists that would significantly influence his musical journey. The DJs often featured artists like George Benson, Bob James, Grover Washington Jr., Weather Report, and Spyro Gyra. It was during this period that Clarke first heard Stanley Clarke’s “School Days,” an album that would leave a lasting impression.
Recorded in 1976 at the iconic Electric Lady Studios in New York City, “School Days” was a breakthrough album for Clarke. By this time, Clarke had already been playing jazz professionally since 1971. However, within two years of releasing “School Days,” he began to pivot towards the pop and R&B genres. The years between 1972 and 1978 were particularly prolific for Clarke, both as a sideman and a leader, showcasing his versatility and talent.
Stanley Clarke was born on June 30, 1951, in Philadelphia, where he studied piano and double bass at the Settlement Music School. This prestigious institution has produced notable alumni such as Albert Einstein, Michael and Kevin Bacon, Chubby Checker, Joey DeFrancesco, Kevin Eubanks, Christian McBride, and Wallace Roney. During his high school years, Clarke met drummer Darryl Brown and played piano in his band, the Latin Unit. By 1965, Clarke had switched to bass, and in 1966, at the age of 15, he made his professional debut with saxophonist Byard Lancaster’s band at Philadelphia’s landmark Showboat Lounge. This venue had hosted jazz legends like Miles Davis, John Coltrane, Art Blakey, and Stan Getz, among others.
Clarke’s first professional gig at the Showboat Lounge was a pivotal moment. He was paid $75 for the week-long engagement, and it was here that he met drummer Darryl Brown, who would later play with Grover Washington Jr. and Weather Report before transitioning to a career in medicine. The Showboat Lounge, located in the basement of the Douglass Hotel, held significant historical weight. Billie Holiday, after her drug conviction in 1947, often performed there, and the Douglass Hotel was her home during these engagements.
Professional Debut: Clarke’s Early Years
After graduating from the Philadelphia College of Performing Arts in 1971, Clarke moved to New York City and quickly established himself in the jazz scene. In May 1971, he recorded on Joe Henderson’s album “In Pursuit of Blackness.” It was during this period that Clarke met Chick Corea, who was sitting in with Henderson’s band. This encounter would lead to a significant collaboration.
In 1972, Clarke joined Corea to form Return to Forever, a band that would become a cornerstone of the jazz-rock fusion era. The band featured Joe Farrell on reeds, Airto on drums and percussion, and Flora Purim on vocals and percussion. Return to Forever was known for its blend of acoustic and electronic instrumentation, playing a chamber version of jazz-rock. Their debut album was recorded on February 2–3, 1972, and released on Manfred Eicher’s ECM label in September 1972 in Germany and Japan, but it wasn’t until 1975 that it hit the U.S. market. Clarke remained with Return to Forever until 1977, contributing to several groundbreaking albums during his tenure.
One of Clarke’s notable recordings from this era was “Moon Germs,” released on CTI Records in 1973. Recorded on November 21, 1972, at the Van Gelder Studio in New Jersey, this album featured Herbie Hancock on electric piano and Jack DeJohnette on drums. Clarke’s composition “Bass Folk Song” from this album is a standout track, showcasing his compositional skills and musical prowess.
A mere eight days after recording “Moon Germs,” Clarke, as part of the Stanley Cowell Trio with Cowell on piano and Jimmy Hopps on drums, recorded “Illusion Suite” at Sound Ideas Studio in New York City. From this album, the track “Maimoun” is a notable example of Clarke’s versatility and creativity.
Clarke’s debut as a leader, “Children of Forever,” was recorded on December 26 and 27, 1972, and released by Polydor in 1973. This album marked a significant milestone in his career, highlighting his potential as a bandleader and composer.
Return to Forever and the Jazz-Rock Fusion Era
Forming Return to Forever
The formation of Return to Forever was a pivotal moment in the jazz-rock fusion era. The band was created by Chick Corea, who had recently left Circle. Corea formed Return to Forever with Stanley Clarke on bass, Joe Farrell on reeds, Airto on drums and percussion, and Flora Purim on vocals and percussion. The band’s unique sound, which combined both acoustic and electronic instrumentation, quickly gained attention and acclaim.
Return to Forever’s debut album, recorded in February 1972, was a testament to their innovative approach. The album was initially released on Manfred Eicher’s ECM label in Germany and Japan in September 1972, but it wasn’t until 1975 that it reached the U.S. market. This delay was due to various factors, including the band’s evolving sound and the changing landscape of the music industry.
Recording with Return to Forever
During his time with Return to Forever, Clarke contributed to several iconic albums that defined the jazz-rock fusion genre. The band’s fusion of acoustic and electronic elements created a unique and dynamic sound that resonated with audiences. Clarke’s compositions and performances with Return to Forever showcased his versatility and creativity, solidifying his reputation as a formidable musician.
One of the standout recordings from this era is “Moon Germs,” released on CTI Records in 1973. This album featured Clarke’s composition “Bass Folk Song,” which highlighted his talent as a composer and bassist. The track, with Herbie Hancock on electric piano and Jack DeJohnette on drums, is a testament to Clarke’s ability to blend various musical styles seamlessly.
Another significant recording from this period is “Illusion Suite,” released in 1974. This album featured Clarke as part of the Stanley Cowell Trio, with Cowell on piano and Jimmy Hopps on drums. The track “Maimoun” from this album is a notable example of Clarke’s musical prowess and creativity.
Clarke’s debut as a leader, “Children of Forever,” was released by Polydor in 1973. This album marked a significant milestone in his career, showcasing his potential as a bandleader and composer. The album featured notable contributions from Chick Corea, who produced the record, and other prominent musicians of the time.
Herbie Hancock Album Delayed 15 Years by YouTube Obsession
Notable Compositions and Collaborations with Bandmates
Stanley Clarke, a pivotal figure in the jazz fusion movement, has a profound legacy that spans several decades. His collaborations and compositions have left a lasting impact on the genre. In particular, his work with Joe Farrell and Stanley Cowell showcases his versatility and innovative spirit. These collaborations not only highlight Clarke’s musical prowess but also underscore the dynamic nature of his early career.
Side Projects and Collaborations
Recording with Joe Farrell
One of Stanley Clarke’s most memorable collaborations was with Joe Farrell, a renowned flautist and saxophonist. Together, they worked on Farrell’s album Moon Germs, a project that saw Clarke showcasing his skills as a bassist and composer. Notably, Moon Germs featured the track “Bass Folk Song,” which Clarke wrote. This composition, along with the presence of virtuoso drummer Jack DeJohnette, marked a significant moment in Clarke’s career, highlighting his ability to blend various musical elements into a cohesive and compelling sound. Themarketactivity’s analysis of this collaboration reveals a deep understanding of rhythm and melody, which Clarke would later apply in his own projects.
Recording with Stanley Cowell
In addition to his work with Farrell, Clarke also collaborated with pianist Stanley Cowell. Their joint effort resulted in the album Illusion Suite. This album was a collaborative effort that brought together a variety of musical styles, with Clarke’s performance on the track “Maimoun” standing out. This track, along with others on the album, demonstrates Clarke’s capacity to engage in complex musical arrangements, adding depth and texture to Cowell’s compositions. Themarketactivity’s review of this album highlights the seamless integration of diverse musical influences, a hallmark of Clarke’s work.
Leadership and Debut Album
Recording Children of Forever
Stanley Clarke’s leadership and vision came to the forefront with the release of his debut album Children of Forever. Recorded in 1972 and released in 1973, this album was produced in collaboration with legendary pianist and composer Chick Corea. The album marked a significant moment in Clarke’s career, showcasing his ability to lead a project while integrating various musical influences. Notable tracks on the album include “Children of Forever,” a composition that exemplifies Clarke’s approach to blending jazz with elements of rock and funk. Themarketactivity’s analysis of Children of Forever underscores Clarke’s innovative use of electronic and acoustic instruments, a feature that would define much of his later work. The album’s success was not just in its innovative sound but also in its ability to resonate with a broad audience, making it a notable addition to the jazz fusion genre.
Conclusion
The story of Herbie Hancock’s delayed album offers a fascinating look into how contemporary technology and personal passions can intersect with artistic endeavors. Hancock’s YouTube obsession, which consumed over a decade of his life, underscores the transformative impact that digital platforms have on creativity and productivity. This 15-year interruption not only highlights the potential pitfalls of digital distraction but also reflects on the broad cultural shift towards online content consumption. The album, finally released, bears the weight of time and the artist’s personal journey, making it a unique blend of past and present.
The implications of Hancock’s experience resonate beyond the realm of music, provoking a broader contemplation on the balance between personal indulgence and professional commitment. As digital platforms continue to evolve, artists and consumers alike find themselves in a complex web where the line between leisure and work blurs. The future holds a challenge for creators to find innovative ways to harness these platforms for inspiration without being overtaken by them. Hancock’s story serves as a cautionary tale and a call to action for finding equilibrium in an increasingly interconnected digital age.