Herbie Hancock – Inventions And Dimensions
Tracklist
| A1 | Succotash | |
| A2 | Triangle | |
| B1 | Jack Rabbit | |
| B2 | Mimosa | |
| B3 | A Jump Ahead |
Companies, etc.
- Record Company – Blue Note Records Inc.
- Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey
- Lacquer Cut At – Van Gelder Studio, Englewood Cliffs, New Jersey
- Pressed By – Plastylite
Credits
- Bass – Paul Chambers (3)
- Congas, Bongos – Osvaldo "Chihuahau" Martinez*
- Design [Cover] – Reid Miles
- Drums, Timbales – Willie Bobo
- Liner Notes – Nat Hentoff
- Photography By [Cover Photo] – Francis Wolff
- Piano – Herbie Hancock
- Producer – Alfred Lion
- Recorded By [Recording By] – Rudy Van Gelder
Notes
Recorded on August 30, 1963.
Original first pressings can be determined by the following details [also see image section]:
1. 'Deep Groove' stamped in the label paper of side 1 only
2. Address on labels is New York USA
3. Address on back cover is 43 West 61st St., New York 23
4. Deadwax area has the Plastylite pressing plant "ear" (pretzel shaped, hand etched "P")
5. Deadwax area has the VAN GELDER stamp; the cat.nr. is hand etched
6. Front cover is not laminated
Versions that do not carry the Plastylite "ear" (aka the pretzel shaped, etched "P") are all reissues, released after Liberty Records bought the Blue Note label and are not first pressings. These and the above details courtesy of the "Blue Note Records Guide For Identifying Original Pressings", written by Frederick Cohen from Jazz Record Center, New York.
The nick name of percussionist Osvaldo "Chihuahua" Martinez is misspelled on the front cover and reads "Chihuahau". This typo survived many reissues, but was finally corrected on the 2006 CD reissue in the RVG Edition series; the front of the booklet there now correctly states "Chihuahua".
Original first pressings can be determined by the following details [also see image section]:
1. 'Deep Groove' stamped in the label paper of side 1 only
2. Address on labels is New York USA
3. Address on back cover is 43 West 61st St., New York 23
4. Deadwax area has the Plastylite pressing plant "ear" (pretzel shaped, hand etched "P")
5. Deadwax area has the VAN GELDER stamp; the cat.nr. is hand etched
6. Front cover is not laminated
Versions that do not carry the Plastylite "ear" (aka the pretzel shaped, etched "P") are all reissues, released after Liberty Records bought the Blue Note label and are not first pressings. These and the above details courtesy of the "Blue Note Records Guide For Identifying Original Pressings", written by Frederick Cohen from Jazz Record Center, New York.
The nick name of percussionist Osvaldo "Chihuahua" Martinez is misspelled on the front cover and reads "Chihuahau". This typo survived many reissues, but was finally corrected on the 2006 CD reissue in the RVG Edition series; the front of the booklet there now correctly states "Chihuahua".
Barcode and Other Identifiers
- Matrix / Runout (Side 1 (hand etched / stamped): BNLP-4147-A [Plastylite "ear"] VAN GELDER
- Matrix / Runout (Side 2 (hand etched / stamped): BNLP-4147-B [Plastylite "ear"] VAN GELDER
Other Versions (5 of 58)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
|
New Submission
|
Inventions And Dimensions (LP, Album, Stereo) | Blue Note | BST 84147 | US | 1964 | ||
|
New Submission
|
Inventions And Dimensions (LP, Album, Repress, Stereo) | Blue Note | BST 84147, ST-84147 | US | 1966 | ||
|
New Submission
|
Inventions And Dimensions (LP, Album, Repress, Mono) | Blue Note | BLP 4147 | US | 1966 | ||
| Inventions And Dimensions (LP, Album, Reissue, Repress, Stereo) | Blue Note | BST 84147, BST-84147 | US | 1966 | |||
|
Recently Edited
|
Inventions And Dimensions (LP, Album, Reissue) | Blue Note | BST 84147, BST-84147 | US | 1967 |
Recommendations
Reviews
-
Not atypical Herbie he went experimental here fusing jazz idiom with Africanized hypnotic percussion and a sense of outward bound creative play with the music. Not really traditional jazz nor avant somewhere in between with a small hint of minimalism sort of Terry Riley-esque at time. This is the stuff I like jazz thats truly motivational and not stuck in the norm of the time probably why Miles saw him as an asset to his band. -
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An interesting experiment with nice results. He has changed not only the personnel but also the format of the group this time favouring a traditional trio with additional percussion from Osvaldo "Chihuahua" Martinez. Even with the inclusion of congo and bongo, I wouldn't say this is Latin music, although there is some Latin rhythm, and I wouldn't describe it as Hard Bop either. It's a fairly cerebral affair. Apparently all but one of he songs were improvised, but it sounds much tighter than free jazz with Hancock firmly in the centre of the sound for the majority of the album.
Release
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Recently Edited
Recently Edited
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