Hancock commands the synth keys throughout, taking the recordвЂ™s four dynamic songs to places where entire concept albums of ten-plus tracks rarely ever go. He elected to largely replace the guitar with the clavinet and plugged in a talented rhythm section. In San Francisco, Hancock assembled a supremely talented sextet for the album, bringing in several new faces. After all, Nixon was showing obvious signs of villainy and a seemingly endless war in Vietnam waged on. Jazz was becoming even more far out, thanks to new effects and instrumentation as well as a collective mental desire to escape. Of R&B powerhouses like Marvin Gaye and funk legends like Stevie Wonder and Sly & the Family Stone. He was looking to reground himself in music, leaving the spacier jazz sounds heвЂ™d become famous for in favor of something more grounded primal even.ДЇor context, this was the busy musical era of guitar gods and folk smiths. The Chicago-born musician has just wrapped up a trio of albums (often called his вЂњMwandishiвЂќ era) that were especially improv-driven. Released in late 1973, the album was the 12th studio effort from the already established Hancock. IвЂ™ve been listening to it ever since and, like any good artistic composition, Head Hunters delivers something new with each and every spin. It was well before eight oвЂ™clock in the morning and the album still shredded my mind. The concept of listening to a record from start to finish, without discussion, and getting credit in the process was intriguing enough. The first time I heard Head Hunters in its entirety was in my sophomore year of college as part of a jazz history course.

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