{"id":59800,"date":"2024-02-07T13:40:14","date_gmt":"2024-02-07T18:40:14","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=59800"},"modified":"2024-02-07T13:46:31","modified_gmt":"2024-02-07T18:46:31","slug":"songs-that-changed-music-chameleon-herbie-hancock","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/songs-that-changed-music-chameleon-herbie-hancock\/","title":{"rendered":"Songs That Changed Music: &#8220;Chameleon&#8221; &#8211; Herbie Hancock"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-1587305741\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-2836854777859-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-2836854777859-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-2836854777859-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-2836854777859-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-2836854777859-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_video link=&#8221;https:\/\/www.youtube.com\/watch?v=fRJ_h3eKmHg&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<span style=\"font-weight: 400;\"><a href=\"https:\/\/www.youtube.com\/watch?v=fRJ_h3eKmHg\"><strong>\u201cChameleon\u201d is a foundational track in the history of funk-jazz.<\/strong><\/a> It appeared in 1973 on Herbie Hancock\u2019s classic album <\/span><i><span style=\"font-weight: 400;\">Head Hunters<\/span><\/i><span style=\"font-weight: 400;\">, and remains influential more than 50 years after its release. It has not only become a benchmark for funk-jazz, but also a jazz standard. On top of this, \u201cChameleon\u201d pioneered the use of synthesizers in funk and in jazz, and it had a significant impact on hip-hop.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cChameleon\u201d sounds deceptively simple, with a straightforward 12-note bass line, funky drums, just two chords, and a minimalist melody played by the horns. But there are many subtleties hidden in the track that contribute to making it one of the greatest pieces of music of all time. We will examine all these elements in this video to find out what makes this song so great.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In addition, \u201cChameleon\u201d and the <\/span><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">album were a commercial and artistic breakthrough for Herbie Hancock, who has become one of the most iconic keyboard players in the history of modern music. We will also be looking at what made Hancock such a prominent keyboard player, and how he and his band ended up making \u201cChameleon,\u201d and the <\/span><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">album.\u00a0<\/span><\/p>\n<p><strong>TURNING POINT<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">One of the most remarkable aspects of the story of Herbie Hancock and \u201cChameleon\u201d is that the keyboard player started off as a jazz purist, who regarded electric instruments with disdain. The turning point in his life came in December, 1967, at Columbia Studios in New York, when the legendary trumpeter and band leader Miles Davis asked Hancock to play electric piano at a recording session.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Herbie Hancock himself later admitted that he was a \u201cjazz snob,\u201d at the time. He recalled about that pivotal session in 1967, \u201cI was thinking: \u2018That toy?\u2019 I turned it on and played a chord, and it sounded beautiful, with a really warm, bell-like sound. I learnt that night not to form an opinion about things you have no experience of. I also found out that Miles was already listening to Jimi Hendrix and other rock artists, as well as to flamenco and classical music, and when I saw that my hero, my musical mentor, was open to these things, I changed my whole attitude.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Hancock was born in Chicago in 1940, and started receiving classical piano lessons when he was seven. He became a child prodigy and gave his first concert when he only 11, in 1952, when he played the first movement of Mozart\u2019s Piano Concerto No 26 in D Major, with the Chicago Symphony Orchestra.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In his teenage years, Hancock developed an interest in jazz, and he listened to jazz pianists like Bill Evans, Oscar Peterson, Clare Fisher, Erroll Garner, George Shearing, and Chris Anderson. He has also quoted classical composer Maurice Ravel and jazz composer and arranger Gil Evans as major influences. All this contributed to Hancock becoming an outstanding jazz piano player with an extraordinary talent for harmonic innovation.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">After graduating from Grinnell College in 1960 with degrees in electrical engineering and music, Hancock started working with well-known jazz players like trumpeter Donald Byrd, and saxophonists and band leaders like Coleman Hawkins, Oliver Nelson and Phil Woods.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Hancock recorded his first solo album in 1962. Called <\/span><i><span style=\"font-weight: 400;\">Takin\u2019 Off<\/span><\/i><span style=\"font-weight: 400;\">, it was released on the famous jazz label Blue Note, and contains small band acoustic jazz. The album opens with his composition \u201cWatermelon Man,\u201d which also became a jazz standard. Hancock recorded a jazz-funk version of \u201cWatermelon Man\u201d eleven years later on his <\/span><i><span style=\"font-weight: 400;\">Head Hunters<\/span><\/i><span style=\"font-weight: 400;\"> album, as a companion piece to \u201cChameleon.\u201d\u00a0<\/span><\/p>\n<p><strong>WILD EXPERIMENTATION\u00a0<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Around the time of the release of <\/span><i><span style=\"font-weight: 400;\">Takin\u2019 Off, <\/span><\/i><span style=\"font-weight: 400;\">Miles Davis was looking for a new band, and a new direction in music. Already an icon in the world of jazz, Davis formed a new band in 1963, with Hancock on piano, Tony Williams on drums, Ron Carter on bass and Wayne Shorter on saxophone. The avant-garde hardbop of what became known as Davis\u2019s\u00a0 Second Great Quintet proved enormously influential.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">After four years Davis felt that the quintet had exhausted its creative potential, and he started his explorations of electric music in the above-mentioned sessions in December 1967, when he presented Hancock with a Fender Rhodes piano. Davis dissolved his Second Great Quintet a few months into 1968.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">When Hancock returned to his solo career, he\u00a0 was eager to continue with the spirit of wild experimentation of his former mentor, while also forging his own musical identity. While playing with Davis, he had taken part in many recording sessions with others, and also released several jazz solo albums, <\/span><i><span style=\"font-weight: 400;\">My Point of View<\/span><\/i><span style=\"font-weight: 400;\"> (1963), <\/span><i><span style=\"font-weight: 400;\">Inventions &amp; Dimensions<\/span><\/i><span style=\"font-weight: 400;\"> (1963), <\/span><i><span style=\"font-weight: 400;\">Empyrean Isles<\/span><\/i><span style=\"font-weight: 400;\"> (1964), <\/span><i><span style=\"font-weight: 400;\">Maiden Voyage<\/span><\/i><span style=\"font-weight: 400;\"> (1965), <\/span><i><span style=\"font-weight: 400;\">Speak Like a Child<\/span><\/i><span style=\"font-weight: 400;\"> (1968).\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">On his first album after leaving the Second Great Quintet, <\/span><i><span style=\"font-weight: 400;\">The Prisoner <\/span><\/i><span style=\"font-weight: 400;\">(1969) Hancock played electric piano for the first time, and on the follow-up, <\/span><i><span style=\"font-weight: 400;\">Fat Albert Rotunda <\/span><\/i><span style=\"font-weight: 400;\">(1969), he started to explore a jazz-funk direction, even as the instruments remained mostly acoustic.<\/span><\/p>\n<p><strong>DRAMATIC CHANGE<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Two years later, in 1971, Hancock started his exploration of jazz-rock in earnest, with his <\/span><i><span style=\"font-weight: 400;\">Mwandishi <\/span><\/i><span style=\"font-weight: 400;\">album. He founded a band with the same name. Two more Mwandishi albums followed, <\/span><i><span style=\"font-weight: 400;\">Crossings <\/span><\/i><span style=\"font-weight: 400;\">(1972) and <\/span><i><span style=\"font-weight: 400;\">Sextant <\/span><\/i><span style=\"font-weight: 400;\">(1973).\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The Mwandishi albums were mostly recorded in studios in San Francisco. Around this time, a young synthesizer enthusiast called Patrick Gleeson was the owner of Different Fur Trading Company studio in San Francisco, and he ended up playing a Moog 3 on a track by Hancock called \u201cQuasar.\u201d\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The influence of Gleeson and his synthesizers on Hancock was profound. The keyboardist expanded his arsenal from acoustic piano and Fender Rhodes to also include a Hohner D6 clavinet, Mellotron, ARP 2600, ARP Pro Soloist, and a Moog synthesizer.\u00a0<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Sextant <\/span><\/i><span style=\"font-weight: 400;\">had been recorded in the beginning of 1973, at Wally Heider and Different Fur Trading Company, and <\/span><i><span style=\"font-weight: 400;\">Head Hunters<\/span><\/i><span style=\"font-weight: 400;\">, Hancock\u2019s next and twelfth solo album, was recorded in September at the same two studios, with Hancock now co-producing with David Rubinson.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Despite the brief half year gap between the recording sessions for the two albums, Hancock dramatically changed musical direction. He disbanded the Mwandishi band, only retaining saxophonist and bass clarinetist Bernie Maupin, and enlisted bassist Paul Jackson, drummer Harvey Mason, and percussionist Bill Summers. The new band was called The Headhunters, and Hancock now played all synths himself.\u00a0<\/span><\/p>\n<p><strong>BLUEPRINT<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">The commercial failure of the experimental Mwandishi albums may have focused Hancock\u2019s mind to switch to making more accessible jazz-funk. The first result was \u201cChameleon,\u201d which became not only the opening track of the <\/span><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">album, but also laid the blueprint for the music of the Headhunters, and for the jazz-funk genre.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The track is credited to Hancock, Maupin, Jackson, and Mason, and the chromatic, 12-note bass line that opens the piece is played by Hancock on the Minimoog. The amazing groove is created by the tension between this bass line and Harvey Mason\u2019s drum pattern, which swings and pushes and pulls and changes the rhythm, and even the tempo, and incorporates elements of rock, funk, jazz and Latin rhythms. According to one academic analysis, there are five layers to the multi-rhythms.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The arrangement features an instrument that sounds remarkably like a clean, funky, rhythm guitar, but it is, in fact, a Clavinet. The eight and a half minute long opening section of \u201cChameleon,\u201d featuring the iconic chromatic bass line and a main melody played by horns, is the most well-known section of the song, and the most frequently covered.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This section also has a second bassline (7:05), which is used as a turnaround throughout the piece. Plus there\u2019s a 3-minute solo by Hancock on the ARP Soloist synthesizer, in which he showcases his astonishing capacity for harmonic and melodic invention.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">After a turnaround at 7:05, a new bass line enters at 7:42, steering the piece into more abstract jazz-like territory, with an extended and\u00a0 imaginative Fender Rhodes solo by Hancock. There are more turnarounds at 11:52, and at 13:09, after which the band returns to the opening bass riff, played in a faster tempo. This reprise has a saxophone solo, until the piece is slowly faded out.\u00a0<\/span><\/p>\n<p><strong>NUMBER ONE<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">\u201cChameleon\u201d is followed on <\/span><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">by Hancock\u2019s 1962 composition \u201cWatermelon Man,\u201d naturally in a very different arrangement, starting with percussionist Bill Summers blowing a melody on beer bottles and chanting, in the style of hindewhu, a way of combining singing and whistling that is used in Pygmy music in Central Africa. The piece is again underpinned by a funky rhythm section, with a rhythm guitar-like part played on the clavinet.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The <\/span><i><span style=\"font-weight: 400;\">Head Hunters<\/span><\/i><span style=\"font-weight: 400;\"> album is completed by the 10-minute long \u201cSly,\u201d which is dedicated to funk icon Sly Stone, and contains one of Hancocks\u2019 most impressive Fender Rhodes solos. The more impressionistic, jazzy track \u201cVein Melter\u201d closes the album.\u00a0<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">was released on October 26, 1973, and went to number one on the US Jazz chart, and became the best-selling jazz album of the time, selling more than a million copies.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">However, arguably more important than <\/span><i><span style=\"font-weight: 400;\">Head Hunters\u2019 <\/span><\/i><span style=\"font-weight: 400;\">commercial success are the enormous cultural and musical impact of the album, and of \u201cChameleon\u201d in particular, which continue to this day. It influenced several generations of listeners and musicians in the funk, pop, electronic music, and hip-hop genres. It has also been used in commercials, movies, TV shows and video games.\u00a0<\/span><\/p>\n<p><strong>HIGHLIGHTS<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Herbie Hancock would go on to many other pioneering and commercially successful projects, not least the follow-up album with the Headhunters, <\/span><i><span style=\"font-weight: 400;\">Thrust <\/span><\/i><span style=\"font-weight: 400;\">(1974). Hancock enjoyed a major hit single \u201cRockit\u201d in 1983, with producer Bill Laswell, which pushed the album <\/span><i><span style=\"font-weight: 400;\">Future Shock <\/span><\/i><span style=\"font-weight: 400;\">high up the charts in many countries.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Major artistic achievements also include <\/span><i><span style=\"font-weight: 400;\">Gershwin\u2019s World <\/span><\/i><span style=\"font-weight: 400;\">(1998), and <\/span><i><span style=\"font-weight: 400;\">River: The Joni Letters <\/span><\/i><span style=\"font-weight: 400;\">(2007)<\/span> <span style=\"font-weight: 400;\">In total, Hancock has received 14 Grammy Awards. However, in a lifetime full of music-changing highlights, with an oeuvre that includes 49 studio albums, twelve live albums, five soundtrack albums, and countless appearances as a sideman, <\/span><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">continues to loom large.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In a comment to one of the re-issues of the <\/span><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">album, producer Bob Belden summarized one of the reasons for its enormous and lasting success in this way:\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cHerbie\u2019s recordings with The Head Hunters Band changed the world of jazz by opening up the mindset of both jazz musicians and the listening public to the fact that music could have the power of communicating to a larger set of minds and voices, yet retain its musical complexity, quality, and integrity.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a9 2024, Paul Tingen. <\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_video link=&#8221;https:\/\/www.youtube.com\/watch?v=fRJ_h3eKmHg&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\u201cChameleon\u201d is a foundational track in the history of funk-jazz. It appeared in 1973 on Herbie Hancock\u2019s classic album Head Hunters, and remains influential more than 50 years after its release. It has not only become a benchmark for funk-jazz, but also a jazz standard. On top of this, \u201cChameleon\u201d pioneered the use of&hellip;<\/p>\n","protected":false},"author":25,"featured_media":59801,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-59800","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Songs That Changed Music: &quot;Chameleon&quot; - Herbie Hancock - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/songs-that-changed-music-chameleon-herbie-hancock\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Songs That Changed Music: &quot;Chameleon&quot; - Herbie Hancock - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_video link=&#8221;https:\/\/www.youtube.com\/watch?v=fRJ_h3eKmHg&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\u201cChameleon\u201d is a foundational track in the history of funk-jazz. It appeared in 1973 on Herbie Hancock\u2019s classic album Head Hunters, and remains influential more than 50 years after its release. It has not only become a benchmark for funk-jazz, but also a jazz standard. 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