Herbie Mann Albums (84)
What The Critics Say
Not a high water mark in Herbie Mann's recorded output, Mellow was released by Atlantic Records after dropping him from their roster. Made up primarily of outtakes from mid- to late-'70s recording sessions, the album sounds like the hodgepodge it is. Highlights include a take on Milton Nascimento's "Cinnamon Flower" and a lengthy version of Mann's classic "Memphis Underground," recorded at the 1977 Montreux Jazz Festival with guests Sonny Fortune, David Newman and the Brecker Brothers. The low point arrives with the opening track, a cover of Bob Marley's "Bend Down Low" left over from the Reggae sessions, in which Mann actually sings the lead vocal. ~ Jim Newsom, All Music Guide
What The Critics Say
Although Herbie Mann's flute is typically melodic and lively, the music on this out-of-print Atlantic album is generally pretty routine. Mann uses a "contemporary" electric rhythm section on a variety of then-recent Brazilian tunes, his own "Gold Rush" and even the "Theme from Tootsie"; the results were dated within a year of this record's release. ~ Scott Yanow, All Music Guide
What The Critics Say
Recorded with Herbie Mann's working band at the time, Windows Opened captures the quintet tackling a mixed set of contemporary jazz and pop tunes. Especially noteworthy are takes on Tim Hardin's "If I Were a Carpenter" and the Wayne Shorter composition "Footprints." Although this is not one of the essential recordings in Mann's catalog, it features excellent playing throughout, with an amazing collection of talent: vibist, future funk/fusion star and acid jazz grandfather Roy Ayers; the unique free-jazz guitarist Sonny Sharrock; and the soon-to-be co-founder of Weather Report, bassist Miroslav Vitous. An enjoyable recording throughout. ~ Jim Newsom, All Music Guide
What The Critics Say
Flutist Herbie Mann's last record date brought him back to his roots, playing bop-oriented jazz. Actually, he co-led the session with an old friend, altoist Phil Woods, who he did not have many opportunities to play with after the 1950s. The results are delightful, with some bop standards, a few Latin tunes, and some basic originals comprising the program. The instrumentation changes from track to track, with two different rhythm sections being used and guest appearances from Gil Goldstein on accordion and trombonist Jay Ashby. Mann, who spontaneously recorded the closing "Time After Time" at a slightly later date when he was already seriously ill, sounds in prime form throughout this happy set. His final musical chapter is well worth savoring. ~ Scott Yanow, All Music Guide
'To Birdland and Hurry'
Release Date 11/13/2001
Tracks 12
Label Starburst
See Album Tracklist and Review
'London Underground'
Release Date 2/29/2000
Tracks 9
Label Wounded Bird
See Album Tracklist and Review
What The Critics Say
During the 1960s and '70s, Herbie Mann continually searched for new playing contexts in which to place his flute. In December 1973, he traveled to London for five days of recording with a group of British rock musicians. The result was London Underground, an album tilted much more in a rock direction than the soul and R&B-drenched recordings he had been making for the previous five years. Highlights on this album include the Rolling Stones' "Bitch" (then-Stone Mick Taylor played guitar on this album), Thunderclap Newman's "Something in the Air," and "Paper Sun," from the Traffic canon. The real highlight, however, came about with the addition of Stephane Grappelli on the Donovan pop hit "Mellow Yellow." With guitarist Albert Lee adopting a Django Reinhardt stance, the cut is reminiscent of the old Hot Club of France recordings in the '30s. There are a couple of clunkers here ("Layla" doesn't work), but for fans of late-'60s/early-'70s rock, not a bad ride. ~ Jim Newsom, All Music Guide
'With Antonio Carlos Jobim'
Release Date 1/4/2000
Tracks 12
Label Wea International
See Album Tracklist and Review
'Eastern European Roots'
Release Date 1/1/2000
Tracks 11
Label Herbie Mann Music
See Album Tracklist and Review
What The Critics Say
The legendary flutist has traversed a lot of unique musical terrain in his lifetime, from Brazilian and Latin to Japanese, jazz, and soul. Yet until now he never explored the deeper roots of his heritage, which his liner notes explain are Eastern European and Jewish. He says that some previous attempts to convey the essence of those beginnings have resulted in dark and heavy "suffering" pieces, but here he finds the joys amidst the pain. He mixes six originals with many traditional songs. "Gypsy Jazz" explores a little mysticism with its steady marching drumbeat, some Middle Eastern percussion elements, and an explosive improvisational conversation between his lively flute and Gil Goldstein's accordion. "Balalaika Love Song" is equally mystical, with the distant mandolin of Geoff Mann echoing a darker flute and acoustic guitar meditation. Geoff Mann composed the lively jig-like "A Dance at the Rise of the Moon," which celebrates life rather than focusing on some of the darker elements of life for the Jews of that region. Essentially, it's a collection of mood swings reflecting various elements that can apply to all cultures. For years, his legacy has been doing that for every culture but his own, and now the journey comes beautifully full circle. ~ Jonathan Widran, All Music Guide
