Dimensions is herbie Hancock – Inventions And Dimensions third album by Herbie Hancock, recorded on August 30, 1963 for Blue Note Records. The album was also re-released in the mid-1970s as Succotash credited to Hancock and Willie Bobo. The Rolling Stone Jazz Record Guide. This 1960s jazz album-related article is a stub.
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NOTE: other restrictions can be a result of our security platform detecting potential malicious activity. Please try again later as the restrictions may be lifted, or contact your service provider if the issue persists. For his third album, Inventions and Dimensions, Herbie Hancock changed course dramatically. To rate, slide your finger across the stars from left to right. We could all learn a thing or two from Herbie Hancock. But catering to mixed audiences without compromising ones integrating is one of Herbie’s many strong points. This is the perfect record for the jazz enthusiast to play in mixed company without having to resort to a Diana Krall album.
I went to Herbie’s house once. He lives a couple doors down from Winona Ryder. I don’t know how he resists the urge to tap that once an hour. Dimensions is a perfect exposure to the brilliant early playing style of Herbie Hancock. There’s no saxophone or trumpet to drown him out. I love the way the music seemlessly changes from post-bop to a latin feel, then back again. The conga and bongo playing of Osvaldo Martinez make this album that much more special.
This is one of those experiments that somehow made it out of the archives and onto wax. In the grand scheme of things it’s probably underrated, but it’s also easy to see why most people skip it. The lineup is bizarre – Herbie on piano of course, with drums, bass, and a percussionist. The pieces are sparse – the percussion suggesting that several other instruments were supposed to be present. With only the piano trio this may have been an easier listen. Triangle” is a standard hard-bop blues and the congas in the background sound way out of place. Jack Rabbit” would normally be an uptempo swing, but the half-time congas suggest a samba – very confused.
Feel free to ignore this album, but if you absolutely must hear what this strange lineup sounds like, cue up “Succotash” or “Mimosa”. Who knows, you might think it’s absolutely brilliant. A fascinating experiment, if not an entirely successful one. Herbie’s head, with deft accompaniment by the rest of the band.
That’s the other thing: this is an odd band he’s put together here. Still, the opener is pretty incredible, and it’s a fine album on its own merits. But it spends an awful lot of its time not seeming to know where it’s going. One of Herbie’s best albums and undoubtedly his most underrated. Freeform and exploratory, Herbie weaves webs of piano lines over latin percussion and the results are fucking magical. If you have a true appreciation for Herbie as a soloist, you absolutely need to hear this. A good melody, and a tak tak tak- tak tak tak rhythm do not make for a classic jazz album.