text:
THE HERBIE HANCOCK GROUP: HEAD HUNTERS
Jazz Rock/Fusion
Buy HERBIE HANCOCK Music
1. Chameleon (15:41)
2. Watermelon Man (6:29)
3. Sly (10:18)
4. Vein Melter (9:10)
- Herbie Hancock / ARP Odyssey & Soloist synths, Fender Rhodes, Hohner D6 Clavinet, pipes, co-producer
- Bennie Maupin / soprano & tenor saxophones, saxello, bass clarinet, alto flute
- Paul Jackson / electric bass, marimbula
- Harvey Mason / drums
- Bill Summers / percussion (congas, shekere, balafon, agogo, cabasa, hindewho, tambourine, log drum, surdo, gankogui, beer bottle)
Artwork: Victor Moscoso
LP Columbia - KC 32731 (1973, US)
CD CBS - CK 32731 (1982, Europe)
CD Columbia - CK 47478 (1992, US) Remastered & remixed by Vic Anesini
Thanks to clarke2001 for the addition
Buy HERBIE HANCOCK The Herbie Hancock Group: Head Hunters Music
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Blue Note 2014 $17.29
Reissued · Remastered
Columbia / Legacy 1997 $5.40
$2.71 (used)
Takin' Off [LP]
5 Original Albums [5 CD]
Legacy 2011 $5.09
Empyrean Isles
Blue Note 1999 $4.93
Herbie Hancock - Sextant [SACD Hybrid Multi-channel]
Hybrid SACD - DSD
Vocalion Ltd $21.99
River: The Joni Letters
Verve 2007 $4.50
The Essential Herbie Hancock
Sony Legacy 2006 $13.62
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HERBIE HANCOCK The Herbie Hancock Group: Head Hunters ratings distribution
HERBIE HANCOCK The Herbie Hancock Group: Head Hunters reviews
3.5 stars really!!!
HH's Mwandishi group not raising sufficient public interest to his eyes, Hancock tossed that project aside and disbanded the formation, keeping only Benny Maupin to from his next group The Head Hunters, which would quickly have a life out of its Hancock back-up group career. Built upon funky bassist Paul Jackson and drummer/percussionist Bill Summers and main drummer Harvey Mason, the group presents an incredibly rhythmic (and ethnic African) façade where only Maupin and Hancock are frontmen. Coming with his atrocious fake mask (mocking African heritage I find) on his face, the artwork has lost the magic of Robert Springett's incredibly beautiful illustrations for this album.
Opening on the now-famous almost 16-mins collectively-penned Chameleon track, the album announces its funk colour right from the first note, Jackson's slapped bass line is setting an instant groove and the rest is history. I'm barely exaggerating here, the group settled into their groove and outside a few short escapades; the rest is just expanding, soloing and improvising on the groove. Whatever most people see in this track is grossly exaggerated or else I'm completely missing the point. Compared with his previous works, here Hancock does toy with synthesizers. To close up side A, the group gives a new work out to Hancock's most beloved 60's hit, Watermelon Man. A very different version of its older self, it's probably the album's most interesting track, one where Maupin shines from head to toe.
The flipside (this sides seems to be more inspired by Miles than the A-side) opens on a 10-minutes Sly Stone homage from Herbie, a great funky expansion where Herbie's clavinet serves us a guitar-like sound in its groove, Hancock had not found a guitarist and decided to do without one but using that keyboard instead. The closing Vein Melter is anything but close to melting temperature, though: it's close to cool jazz, strangely bringing us back almost to the 60's.
By the time the 70's half decade had passed, most African Americans had turned to jazz-funk (as opposed to the earlier jazz-rock) Hancock moving after Weather Report (who'd done so with Mysterious Traveller and Tale Spinin', but once again Herbie would dare harder and further than either WR or Miles would. Although not being that much a fan of this album, I can only recommend it on pure commercial merits: it was a planet-wide success selling more than a million copies at the time (for jazz, that was phenomenally successful) and is among the top three jazz album saleswise today.
PS: ever notice that this album can be abbreviated to HH's HH?
Posted Friday, October 17, 2008 | Review this album | Report (Review #186108)
Review by Prog Leviathan
You don't have to be a jazz fan to enjoy the instantly addictive sound to Head Hunters, which grabs hold with funky grooves and doesn't let go. Listeners coming here for rock fusion will probably be (delightfully) disappointed, since this album is like pure, liquefied 1973, dripping syrupy sweet , moody jams which at once both tickle with camp and beg the listener to explore further-- where they'll discover finely polished musicianship and genuine class.
The first track alone gives the listener some of the most rewarding grooves I've ever heard. Jackson's now-famous bass line will appeal to everyone's sense of rhythm, and some of the choruses make me want to stand up and shout. The real good stuff, though, are the numerous solos and transisions between. We're given outstanding organ, synthesizer, and woodwind solos, with moody, intricate rhytm from drums and bass. Tempos are predominantly slow, lending a mellow feel to the album, but things do cook on the upbeat Sly, where Maupin delivers some frantic sax playing with shimmering percussion behind. The whole album oozes class. Very few albums reward this balance of active listening and moody background.
Songwriting: 3 Instrumental Performances: 5 Lyrics/Vocals: NA Style/Emotion/Replay: 5 Head Hunters is a standout anomaly in my collection of dark metal and heavy rock, and I heartily recommend it to anyone who even half-way likes jazz; it's 40 minutes of groovy bliss and stellar musicianship.
Review by Mellotron Storm
Herbie had felt that the sextet had reached it's peak by the end of 1972. "I had been spending so much time exploring the upper atmosphere of music and the more ethereal kind of far- out, spacey stuff. Now there was this need to take some more of the earth and to feel a little more tethered; a connection to the earth". "I was beginning to feel that we (sextet) were playing this heavy kind of music, and I was tired of everything being heavy. I wanted to play something lighter". It was while he was chanting that he started to think about Sly Stone and how much he loved his music and how funky it was. As they went into the recording studio his intentions were to do a Funk album. "I wanted to actually do kind of a Funk album. I didn't know it was going to be a combination Jazz and Funk at the time that we started off". He goes on to say that "Miles had a major influence on "Head Hunters", especially on tunes like "Sly" and "Vein Melter"". I was set to be disappointed with this one but was pleasantly surprised. Although in my opinion it doesn't come close to the brilliance "Crossings" or "Sextant".
"Chameleon" is very funky to start out. Piano a minute in and horns follow. This is really catchy. Clavinet comes in after 4 minutes (as the funkiness is relaxed) and continues to lead until after 7 1/2 minutes when the bass and drums dominate. Electric piano joins in and this mellotron-like sound that comes and goes. The drums are fantastic throughout. Back to funky town 13 1/2 minutes in to end it. "Watermelon Man" was something Herbie had done with Donald Byrd about a decade earlier. It has this interesting intro with flute, vocal expressions and other sounds coming and going. Electric piano and horns come in before 2 minutes then it ends like it began. Cool tune.
"Sly" is dedicated to Sly Stone. Drums, bass and piano to open. It settles in before a minute. The intro soundscape returns then the tempo picks up 2 1/2 minutes in and the sax is all over it. So much going on here.Impressive. It settles down some around 5 1/2 minutes as piano takes the place of the sax. Check out hancock on the piano after 8 minutes ! A change 9 1/2 minutes in as it calms down then the intro soundscape returns. "Vein Melter" is laid back with horns, bass, piano and drums. Mellotron before 2 1/2 minutes and later as well.
Barely 4 stars from me although there's enough of the Jazz element and Miles Davis influence to get me excited at times.
Posted Friday, June 12, 2009 | Review this album | Report (Review #220797)
Review by friso
Herbie Hancock - Head Hunters (1973)
Well.. gone were the days of progressive fusion for Herbie, instead we've got a inventive funk/jazz. Their was need for more commercial succes and so Herbie got to work with the Headhunter, who would later make their own funk albums.
The cover of this record is one of my favourites of all time. The strange thing is: everyone I asked about what was the expression of the big yellow head, had a another intrepation of it's mood.
The mood of the music is very clear however. Straightforwarded funk with some spacy sounds and some other details. Chameleon has a electric bassline, which is the base of the piece. As the song progresses some real bibop jazz chords appear in the composition, though extended wind and key solo's are the main elements. Watermelon Man has some odd vocal rythms and a smooth bassline. A short songs with a nice vibe. Sly and Vein Melter are in the vein of Chameleon, but I thing side two is still a bit better then side one.
I really like this record, but I wouldn't recommend it to the general prog music listener. For people who like to listen to jazz (or those who are willing to try it) this is a perfect trendy classic record. It should not be avoided! Three stars because of the lack of progressiveness. On a jazz site I would have rated it five stars though, this is that one perfect stylish jazz/funk album!
...and the coverwork is brilliant...
Review by snobb
After brilliant, but commercialy unsuccessful album of the same year ( but with another band) "Sextant", Hancock formed another bad and released their first album - "Head Hunter". Till now, this album is most popular Hancock album ever.
New band ( "Headhunters") was the beginning of the new direction - instead of long psyhedelic compositions, based on cold synth-keyboard mixed with brass section and very advanced structurs of "Sextant"period, "Head Hunter" is based on funky rhythm and is much more structurised. In fact, it is more rhythm, then melody. African drumming plus heavy bass line,mixed with all range of synthesizers, produced great groove. First of all serie of funk-jazz albums still contains long compositions and isn't too commercial.But the magic is gone.
For sure, this album is more accessible than "Sextant" or some earlier albums, so it received great commercial success in time of it's release. But for me it is first step out of Hancock "golden age".
Posted Wednesday, November 4, 2009 | Review this album | Report (Review #248079)
Review by Easy Money
Head Hunters was the first album in which Herbie Hancock attempted to weld his jazz and neo-classical sensibilities to his sophisticated take on the popular funk beats of the time. It's not a bad album and has some great moments, but it's not as developed as his future funk/fusion masterpieces; Thrust and Man Child. Side one opens with the all too familiar fat funky synth bass line of Chameleon. Back in the day older jazz musicians hated this bass line and it's synthetic sound, their venomous foam-at-the-mouth descriptions of this tune made for many a humorous break-time during jazz band rehearsals. Anyway, the synth-bass line plows ahead and is topped by an out of tune over reverbed lead-synth that sputters away until finally there is a break and Paul Jackson enters with a real bass and the band finally has a chance to cut loose and jam. This section features an excellent Fender Rhodes solo backed by Herbie and Bennie Maupin's loungey neo-classical orchestrations on flute and string synthesizer, very nice. Side one closes with Hancock's great abstract Africanized and modernized take on his RnB classic, Watermelon Man.
Side two opens with Sly, which could have been a great high-energy abstract avant jazz-funk roof burner, but there are these, not one but two, rhythm clavinet parts that Hancock added that are way too loud and persistent and bury all the great poly-rhythms with this constant clavinet chatter that sounds like Stevie Wonder on meth with a bad case of the shakes. All is made up when side two closes with a classic Hancock futuristic loungey, achingly slow groove called Vein Melter. This is one of the finest Hancock tunes I know of and bears some strong resemblances to the sound of his previous band, The Sextet. Producer David Rubinson, from the excellent Sextet - Crossings album, and Herbie recreate some of Crossing's beautiful textures with double-tracked woodwinds, Mellotron, Arp String Ensemble and laid back Fender Rhodes playing through a classic Echoplex, very very nice.
Head Hunters is a fairly good and innovative album in the world of funk-fusion, but it is a bit inconsistent and unrefined, if you are looking for the best Herbie has to offer in this genre check out the hyper-abstract syncopations of Thrust, or the ultra slick future lounge jazz of Man Child.
Posted Saturday, February 27, 2010 | Review this album | Report (Review #268820)
Review by ProgressiveAttic
COLLABORATOR Eclectic Prog Team
Funky addiction!
Hancock, after ten albums with Miles Davies, started the 70's with his own complex avant fusion experimentations. After the release of three such works, he found himself intellectually tired and not very successful financially. So, he decided to experiment with a more accessible sound and being a fan of funk music, he recruited a new band "The Head Hunters" and started to experiment by combining jazz, rock and funk. As a result, the band generated a series of albums with funk leanings, being this one the first.
This album achieved every single one of the goals proposed: the music is so accessible that could appeal to non jazz enthusiasts, while at the same time Hancock's usual audience would find it highly enjoyable (although this album was highly criticized); the musical styles blended marvelously; and this was Herbie's first smashing sales success.
The entire album is driven by the impressive, sometimes intricate and funky rhythm section, while the melodic elements develop from its foundation. African percussions appear throughout the album to give even a more interesting rhythmic flavor to the musical mix. Everything is spiced up by the melodic predominance of Hancock's wide array of keyboards (being the Fender Rhodes electric piano the predominant) and the sporadic appearance of brass instruments.
Chamaleon is, in my opinion, the most interesting track in the album. It opens the album as an introduction to what will come next, driven by the funky rhythms and highlighting the bass work, while it builds up into a jam session with lots of soloing, improvisation and a very tasteful selection of keyboard sounds to create a background (besides the outstanding Fender Rhodes solo).
Watermelon Man continues the funky feeling and rhythm, this time joined by an African approach to the music. More amusing Fender Rhodes interventions, combined with a very extensive use of the sax and some bizarre flutes used as both intro and outro to the piece.
Sly represents one of the most experimental sections of the album, here we have a glimpse of Miles Davies' approach added to the funky rhythms and some jamming in the vein of Chamaleon. After some landscapes as an introduction , the sax takes the predominant role for about half of the track to produce one of its most impressive participations on the album, to be replaced by Hancock's schizoid electric piano playing for the rest of the piece. The sax and electric piano performances are very wild and show the great amount of virtuosity of the musicians involved.
Vein Melter is a slow, "spacey" piece featuring more electric piano, some brass and a less dynamic/more laid back rhythm section. And to please the mellotron enthusiasts in this site, we have brief appearances of this highly regarded instrument.
The highlights of Head Hunters are, first of all, the bass and percussions. Next we have the more than tasteful keyboard work of Hancock, and we cannot neglect the amusing brass appearances.
This one as a funk or funk-jazz album deserves 5 stars, but as a progressive rock or fusion album we have to reconsider.
3 stars for a great (but not excellent), adventurous, highly addictive, never dull and innovative work. A bit raw and definitively far away from the best in terms of writing skills and final output. Nonetheless, this is one of the most enjoyable 3 star albums ever.
Posted Sunday, March 21, 2010 | Review this album | Report (Review #273397)
Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
About a year after recording the highly experimental Sextant, Hancock decided to abandon the commercially unsuccessful path of the 'Mwandishi' albums. He surrounded himself with a new band and injected his high standard jazz wizardry with funky grooves and sparser improvisations. Melody is largely sacrificed in favor of the prominent groove, which makes this a less favorable release amongst prog audiences.
The opening Chameleon is the track to get here. It's a popular and absolutely infectious funk groove with catchy hooks aplenty. Halfway in it settles for a dub groove with a cool jazzy vibe. It's often criticized because of its 'cheap' synth-bass riff but it's simply magnificent. Hancock sure knows how to recognize a catchy tune if he sees one.
The remainder of the album has a hard time catching up with this track but remains mostly very good and enjoyable. Watermelon Man has a slow beat, almost like hiphop in a way, arranged very sparsely with some African flutes. Sly is a lot busier, with a elaborate rhythmical interplay between bass, Hancock's processed rhodes piano and the mind-blowing drums. This track seems to go on endlessly and I must say I enjoy it better while doing the dusting then when actually sitting and listening to it. Vein Melter is spacier, with a slow dub rhythm and reverbed rhodes piano, some effects and a nice brass melodies to round it off. Nice one.
Hancock sure boosted his popularity with this album, and that is entirely deserved for such strong and simultaneously accessible music. 3.5 stars, not because it isn't 'progressive' but simply because it weighs decisively less then the preceding Mwandishi albums which were all excellent or better.
Review by JLocke
The first time I heard the opening synth bass line for ''Chameleon'', the opening track on Head Hunters, I knew I was in for something very different for a Jazz record. Herbie Hancock was among the pioneers of Jazz-Rock who actually came out of the Jazz circuit and not the Rock one. Along with buddy/mentor Miles Davis, he would set into motion a movement of acceptance and adoption that would lead to some of the most interesting eras music ever saw. This type of fusion saw lauded Jazz greats openly embracing for the first time the more modern, outside influences and using them to further enhance and really make it a style of their own. Rather than simply ignoring the undeniable draw of Rock music, a small group of professionals in the increasingly- snobbish Jazz world show their peers what could be gained by mixing styles together. After all, didn't the Classical snobs scoff at the American hot music at first?
This particular album, along with Miles Davis' Bitches Brew a few short years earlier, really woke the public up and demonstrated what could be accomplished in the Jazz-Rock movement when put in the proper hands. Herbie Hancock, already greatly influenced by his work with Miles, would take things a step further by bringing this eclectic attitude into the mainstream. He wanted to make an electric record that didn't follow the same path as his last release, but still felt fresh and exciting in its own right. What he ended up deciding on turned out to be a brilliant move: make a Jazz-Rock album with heavy Funk influences in the vein of Sly and the Family Stone and other such artists. Risky? Indeed. In fact, Hancock himself would later admit to writing off the idea when it first entered his mind. But ultimately, he couldn't resist the draw of the challenge. Luckily for us, the privileged audience, Mr. Hancock would follow through with it.
As I alluded to back at the very start, the first track alone makes this album worth owning. The fact that the band is able to do so much with such a basic foundation in the form of that classic bass line shows the talent and passion involved on the recording. Once the saxophones come onto the scene, it's all over and you're at the song's mercy. Things only get better from there, with Hancock ultimately breaking it at just the right moment and playing all the right tones at just the right time. His solos flawlessly flowing overtop of the other instruments can send chills up your spine. Bennie Maupin as already mentioned is also great, and the drums and percussion section is just fantastic all throughout the record. I might say ''Chameleon'' is still the highlight of the record, but that doesn't mean the album disappoints the rest of the way. Far from it. ''Watermelon Man'', a re-imagining of a previous classic previously recorded by Hancock, adds just as many surprises as if were an entirely new piece, so it doesn't stick out at all, and is by this point the better-known and preferred version of that particular song, I'm sure.
''Sly'' is a musical tribute to, you guessed it, Sly Stone. Wearing one's influences on the sleeve could be taken as either laziness or the ultimate form of flattery. In this case, it's definitely the latter. Mainly because the ''Sly'' track is still very original and stands on its own without any obvious musical callbacks to Sly's music itself, I take this track for the most part as much more of an ode or tip-of- the-hat to a musician Hancock just happened to be influenced by at the time. But it's a great track regardless of how you wish to analyze it. ''Vein Melter'', the last track, is probably my least favorite of the bunch it's still very cool in its own right. Very mellow. There are some semi-cheesy sound effects that seem the most noticeable on this track, but it's not so much that it ruins the music itself in the slightest. I'm just giving you a heads-up, however. It has its beautiful moments, but on the whole, ''Vein Melter'' is a lesser track when compared to the greatness of the three that came before it.
Having said that, it serves as a great album closer to chill you out and leave you anxious to hear the next release from Mr. Hancock and his new style. Luckily, we are able to jump forward in time and listen to what came after. However, while many people might say the Herbie has done more substantial work either before or since this release, you must keep in mind the historical importance this album in particular holds. In many ways it was the beginning of whole new era of music for many, and when you also take into account how well done the music on Head Hunters truly is, even all these years later, I see no reason why you should be without it. It's a classic, and well-deserving of that title. Four-and-a-half very enthusiastic stars from me. The single, ominous drum kicks at the very end of everything helps close the album with just as much mystery and intrigue as the funky bass helped begin it with.
Review by thehallway
Probably the grooviest album ever.
Herbie Hancock is one of the many jazz pianists who 'went electric' and experimented with synthesizers, and his output from this very progressive period is some of the best jazz in this vein. But Head Hunters is less complex and airy than the Miles-influenced albums before it, and successfully combines clever, fresh sounds with commercial appeal and funk grooves. It was influenced by funk and in turn, influenced more funk (not to mention being sampled by thousands of rappers). But even hardcore fusion fans will enjoy the colourful textures and rhythms employed here; there's more substance in the album than some haters will make out.
'Chameleon' has that famous ARP Synthesizer bass line, which provides a basis to most of the track. Drums, african percussion, clavinets, basses and electric pianos are gradually added, with the doubled-up sax handling the main melody. One of the highlights of this extended groove is the reverb- drenched synth solo in the middle, which outclasses a lot of those by prog-rock keyboardists! The most popular track 'Watermelon Man' is a completely new take on the 60's classic, with the rather innovative beer-bottle blowing and vocal bursts serving as a tribal introduction to a very urban piece. It's the shortest song on the album but they squeeze a lot in.
Side two is less immediately accessible, which is a good thing to have in balance with the almost radio- worthy first side; it gives the album artistic depth. 'Sly' is a very fast, frantic and crazy piece driven by the percussion and drumming. The rhythms get very complex but never leave the 4/4 time signature, instead stretching it to it's limits, while the Fender Rhodes and sax add their charm in a way that combines the influence of Sly and the Family Stone and Miles Davis. Meanwhile 'Vein Melter', which sounds German but I've no idea what it means', is contrastingly laid back and cool, with bursts of melody from various instruments adding tone colour to the continuous, bolero-esque beat. There's less to cling on to for a listener here, but the piece is an enjoyable, atmospheric journey nonetheless.
The highlight of this album is the range of colourful sounds and textures that are employed, combined with very clean, pristine production. This gives it a positively urban feel despite the African influences. The rhythms are to die for and Hancock's playing is subtly brilliant. I think there's a good balance of moods, although not in any single song, making the album work better when played right through. In short, there's more to explore here than some would have you believe. Even if it's less adventurous then Crossings or Sextant, it makes up for that in sheer musical quality.
Review by Evolver
SPECIAL COLLABORATOR Crossover & JR/F/Canterbury Teams
While Herbie Hancock is one of the most talented jazz keyboard players, his fusion, while very popular, leaves much to be desired. Compared to the great fusion bands of the seventies, Return To Forever, The Mahavishnu Orchestra, Brand X, to name a few, Hancock's fusion is terribly simplistic and repetitious. The music is much more grounded in straight funk than most fusion. Perhaps that explains the commercial success of this one.
The opening track, Chameleon is essentially one simple funk riff, played repeatedly, with a break at the end of each section. The jam takes off, gets quite good, but never enters into the realm of great. And long before the song's fifteen minute mark, you may find yourself longing for the ending.
Watermelon Man, originally on Hancock's "Takin' Off" album in 1962, was by this time a jazz standard. The version here is slightly funkier, and a bit slower than the original, and to my ears, far inferior.
Sly is more in the line of Miles Davis' brand of fusion, and is in effect, nuch better than the first two tracks. Both the rhythm tracks and the soloing are much more accomplished, and more enjoyable than the first side of the album.
Vein Melter closes the album with a very smooth piece, that almost gets marred by Hancock's string synths, and some just odd sounding patches.
I know this is though of as a classic, but while containing some nice moments, it's really just barely average.
Posted Sunday, July 10, 2011 | Review this album | Report (Review #480159)
Review by Starhammer
Mind Benders...
Shortly after his trilogy of experimental albums Herbie Hancock released the slightly more accessible Head Hunters, which ultimately resulted in the formation of the eponymous band.
The Good: Despite the change of line-up the musicianship is still of the highest calibre.
The Bad: So Chameleon kicks off with that famous 12-note bouncer and carries on for about half the song before reprising at the end, although it will stick in your head much longer than that. The other instrumentation builds up and adapts around this riff. Then we have Watermelon Man, more of the same except this time we have some sort of birdcall/whistling. Don't get me wrong, I'm not criticising the structure of the arrangements, Jazz is synonymous for its meanderings around and about a holding groove. The problem is that these sounds are so "catchy" if you like, that they can be entirely distracting from the rest of the music, to the point that by the end of the track I can only remember one "thing" actually happening. There are of course two other tracks on this release, which are probably highly enjoyably, but I honestly couldn't tell you as the musical brainwashing runs deeper than you might expect.
The Verdict: Some very good fusion, I think, perhaps.
Posted Thursday, September 1, 2011 | Review this album | Report (Review #512723)
Review by Chicapah
In many ways I equate Herbie Hancock with the legendary Bob Dylan as far as being an enormous influence on the evolution of modern music. Dylan courageously followed his personal muse wherever she led without question or resistance, oftentimes to the consternation of his legion of followers and, in the process, forced what seemed to be conflicting genres to not only cohabitate but to compliment each other. In the early 70s Herbie realized that the burgeoning phenomenon known as funk (at that time budding in both the rock and the R&B territories) wasn't just a flash-in-the-pan craze and that, if handled properly, could be brought into the realm of 20th century jazz. Both artists suffered much critical grief from conservative traditionalists for their bold experimentations involving what were considered sacred cows yet their quests for creative fulfillment overrode any fears of exile from popular acceptance and now, in perspective, they are rightly heralded as pioneers who not only broke down barriers but opened up new territories for musicians the world over to migrate into.
In the case of this, the debut album from Hancock's "Headhunters" group, it is rightly considered to be one of (if not THE) vanguard recordings that gave birth to funk/rock jazz fusion. Despite having worked with some of the greatest jazz players in history during the sixties Herbie began to feel stymied musically and wanted to wade into uncharted waters to see what kind of ripples he could instigate. He put together a five-piece ensemble of like-minded explorers and set out to carve out a rebellious niche in the institution of progressive music. On October 13, 1973 this album hit the record store racks and, as they say, the rest is history. It appealed to fans of a wide variety of styles and, in its own humble way, made jazz music in general more palatable for millions who had always considered it to be too high-brow and, therefore, repelling because of its elitism. Not intending to be condescending in any manner, this was music even commoners could relate to.
Starting off with "Chameleon," Hancock's ultra funky synthesizer bass line efficiently reels you into the boat as the rest of the band joins in one at a time before the song's playful melody arrives and solidifies the deal. Herbie steps up into the spotlight first with an adventurous synth ride but, as wild as it is, he never allows it to run amok and overshadow the imminent groove. After Paul Jackson's bass and Harvey Mason's drums alter the landscape a bit Hancock smoothes things out and delivers a cool Rhodes piano solo. The tune is very structured so it's not simply a jam session but a well-arranged piece of exquisite jazz. "Watermelon Man" (a number Herbie composed and published back in '62) follows and it's a fine example of letting a song build up from humble beginnings (percussionist Bill Summers imitating primitive African pipes by blowing into an empty beer bottle) to eventually walk upright in its melodic fullness. One is struck by the group's ability to achieve subtlety without sacrificing the essential momentum generated by the solid rhythm track laid down by Jackson and Mason. The tune gracefully exits as it entered.
"Sly," (a tribute to Mr. Stone and his family) is next and while it's more ethereal in nature it never veers off the beaten path so much as to become inaccessible to the jazz neophyte. Strong dynamics lead to the underrated Bennie Maupin's hot soprano saxophone lead that streaks atop fast-paced drums, clavinet and congas. Hancock's penetrating electric piano then enters the fray with great enthusiasm yet I would encourage the listener to pay special attention to what Harvey is doing on his trap set beneath it all. His superb drumming motivates and encourages the whole number as it escalates to a furious pitch. They end with "Vein Melter" wherein a single bass drum beat initiates a mysterious atmosphere that grows to be inhabited by floating soprano sax, delicate Rhodes piano and airy synthesizer lines. Herbie expertly exploits the surreal tremolo effect indigenous to the mighty Rhodes brand of keyboard instrumentation and, especially if you experience the track via headphones, you'll be treated to its unique mind-swirling quality up close and personal.
It had been a good while since I'd given this album a focused listen and I was surprised to find that I'd forgotten how intricate and clever the presentation is. The engineering involved was flawless, making it sound like it could have been recorded last week rather than almost four decades ago and that helps the material remain fresh and invigorating. Herbie was one of the first to take funk from being something folks were toying around with in jazz circles out of curiosity and make it the centerpiece of a new language rising into the vernacular from the streets and systematically infiltrating the sacred halls of the institution known as jazz. This landmark recording planted a big, fluttering funk flag on the shores of American music and, even though many of the natives didn't know what to make of it, Hancock and his cohorts' definitive act paved the way for a flood of eager settlers to move right in and set up shop.
Posted Tuesday, October 18, 2011 | Review this album | Report (Review #552348)
Sextant was dazzling, make no mistake about it, but with Head Hunters Herbie goes for a change of approach, injecting horse doctors' doses of funk into the mix, scaling back the more abstract space rock-inspired passages radically, and getting a new backing lineup to really bring the sound of the album together. Particular props have to go to Paul Jackson's bass work - a fat, meaty bass sound being absolutely vital to any funk undertaking - as well as the completely off the wall percussion work of Bill Summers, who brings a truckload of different instruments to bear. But more or less every performer has their moment in the spotlight here - Bennie Maupin's flute performances are a particular treat - and of course Herbie's synths and keyboards are a constant presence. It's a bit of an abrupt gear shift after the Mwandishi albums, but it's an undeniably successful one.
Posted Thursday, August 2, 2012 | Review this album | Report (Review #798348)
Review by Sinusoid
The textbook example of how to sell out and yet keep your musical dignity intact.
I'll go on record saying that SEXTANT might be my favourite album that Herbie Hancock put out, let alone one of his highest artistic triumphs. That artistic accomplishment didn't exactly translate into financial security. And I'm sure that the well-established powerhouse in Columbia Records wanted something that had more commercial viability. In essence, Hancock took a gamble by striking the Mwandishi concept after three albums, reducing the lineup of his band to just five, and taking pages out of Sly Stone and Stevie Wonder as a foundation for his next sonic approach.
HEAD HUNTERS is the resultant album of which most people that know of Herbie Hancock will register in their brains immediately. The music of HEAD HUNTERS	is a counterbalance between jazz that the musicians are used to and funk, one of the music styles all the rage back when the album premiered. You could draw parallels to Hancock's career and Miles Davis's at the time, since Davis had notably ON THE CORNER as his big album at the time, another jazz record with strong funk leanings.
In all honesty, despite the more commercial approach the Headhunters (that will be the band name for a time) are going in, the album does retain most of the magic that made SEXTANT special. For starters, Bennie Maupin is the only other holdover from the Mwandishi lineup, a move that almost seems like common sense given how much character Maupin's reeds add to a piece of music (here, hear ''Sly''). Hancock's interpretation of funk crosses over well into the jazz world to the point where ''Chameleon'' is a new jazz standard despite the jam having heavy foreshadowing to hip hop. Where HEAD HUNTERS excels at is setting up a good groove and building on it without overstaying its welcome. It's why ''Chameleon'' has success in the first place, but the rapid fire section of ''Sly'' and the mid-tempo lock groove of a remake of ''Watermelon Man'' add to the overall appeal.
I would say HEAD HUNTERS has more funk in it than jazz, so the classic jazz fans might be turned off. Yet, any fan of jazz in a retro fashion will find this more than acceptable; especially those with more rock, funk and hip hop backgrounds. For me, the only reason HEAD HUNTERS is not an enjoyable masterpiece is that ''Vein Melter'' is significantly weaker than everything else on the album.
Posted Wednesday, May 8, 2013 | Review this album | Report (Review #955768)
Review by Progfan97402
Herbie Hancock retooled the musical direction he headed for Head Hunters, realizing that people weren't buying his Mwandishi-era albums (I'm sure the same reason a fan of later Tangerine Dream is likely to be scared off of Zeit). It's those albums were a bit over the heads of mainstream listeners. Look, Mwandishi, Crossings, and Sextant were hardly made for mainstream listeners, and since my tastes are not exactly mainstream, I have no problem with these albums and really enjoy them a lot. Hancock simply formed a new band, although retaining Bennie Maupin from the old lineup.
It's nice to see Herbie Hancock did not dumb down his music to reach a wider audience, although Head Hunters is an admittedly more accessible, but instead of doing something overly mainstream, he adopts a funk approach. Certainly funky tendencies showed up on Sextant, particularly on "Hornets" with the funky blaxploitation-type drumming and clavinet, but it often veered on the avant garde. "Chameleon" is the most recognized song on this album and you can imagine tons of rap DJs sampling this song. There's this wonderful funky approach as well as more fusion-oriented passages. He then totally does a drastic remake of "Watermelon Man". If you've heard the 1962 original, with the piano and horns, you can't deny how catchy it is. I even find this song enjoyable even though I was never a fan of his Blue Note-era albums (I couldn't get into them, but I can see many jazz fans would enjoy them so I don't bother reviewing them since they're perfectly good albums I am unable to connect with). This 1973 remake is drastically different with odd Africal rhythms and strange whistle or bottle sounds, and the music updated for electric piano and clavinet. You might have to listen to this several times to notice that the familiar theme does creep up, it's certainly not in that straightforward piano and horn-dominated style of the original. Fusion fans are really going to be blown away with "Sly", an obvious tribute to Sly & the Family Stone. The band really gets into a really intense jam, but the funk influences Hancock has adopted for this album are ever present. "Vein Melter" is the closing piece and the closest to the previous sound you'll get, in fact Bennie Maupin's sax playing was more in lines with what was heard in Crossings. Going for this more accessible funk-influenced fusion certainly helped Herbie Hancock big time. It definitely prevented him from being dropped from Columbia Records (I'm certain had he recorded another album like Sextant, Columbia would have likely dropped him). I really find nothing to fault Head Hunters, it's very much a classic, and it did not require many listens to be amazed by it either!
Posted Friday, July 26, 2013 | Review this album | Report (Review #1005803)
I discovered this wee jem of an album in my local Extravision for only £3, and thankfully i had a couple of other 'proghead' friends of mine with me who knew who he was and recomended this album to me, and i have to admit i feel bad for just paying £3 for it, this is a great wee album, a classic ... (read more)
Report this review (#290098) | Posted by FarBeyondProg | Monday, July 12, 2010 | Review Permanlink
Post a review of HERBIE HANCOCK "The Herbie Hancock Group: Head Hunters"

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3rd Test: Cheteshwar Pujara, Virat Kohli fifties only saving grace as India post 187
Updated: Jan 25, 2018, 08:51 IST | Anand Vasu | Johannesburg
Except for half centuries from Pujara and skipper Kohli, Indian batsmen put up yet another spineless show on Day One of third and final Test
Cheteshwar Pujara drives one en route his 50 on Day One of the third and final Test against South Africa in Johannesburg yesterday. Pic/AFP
India's tourism department came up with the snappy slogan Incredible India, to help sell the many irresistible destinations the country has to offer to tourists. The Indian cricket team is doing its best to change this to Intriguing India. After picking five seam bowlers, of varying pace, and dropping the spinner, Virat Kohli won his first toss of the series in overcast conditions on a spicy pitch and chose to bat.
There is a thin line between bravery and bravado, and it was clear that India were flirting with the former when they were bowled out for only 187. Thankfully, Bhuvneshwar Kumar, back in the team after being dropped for the second Test, nipped out the wicket of Aiden Markram to keep South Africa at 6-1 when stumps were drawn. There was no doubt that the conditions were excessively helpful to fast bowlers — and this would not have gone unnoticed by Andy Pycroft, the match referee — but that only made India's decision to bat even more odd.
Both openers played with feet planted and hands loose to be dismissed cheaply, and Kohli and Cheteshwar Pujara were left doing damage control in the middle of a forensic examination by swing, seam, pace and bounce. Kohli's method was to attack, and while this looked stunning when it came off, it also resulted in two chances, a sitter to mid-off and a dipping edge to slip, that were put down on his way to 54. Pujara went the other direction, leaving and blocking, playing and missing yet surviving, and only got off the mark with the 54th ball he faced. He received ironic cheers from the crowd but was in no room for humour given the grim situation that faced him.
Kohli was not three times lucky, a flashing edge to a wide ball held well by AB de Villiers at third slip, and Pujara (50) nibbled at the medium-pace of Andile Phehlukwayo to finally be dislodged after 179 balls at the crease. There was little to write home about as far as the rest of the batting was concerned, other than that Parthiv Patel might have ruled himself out of contention for Test cricket outside the subcontinent and Hardik Pandya showed that he and Kapil Dev cannot be mentioned in the same sentence just yet. Bhuvneshwar made 30 invaluable runs.
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Classic, simple and sturdy. These nesting tables will bring an old world elegance to your interiors. Pair them up with one of our classic range sofas or mix and match them with other interesting pieces from the Roots Rerun category or even contemporary.


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What are boolean search operators?
Boolean operators are a set of commands used to narrow or expand a search and can be effective tools for optimizing your search process to find the most relevant pages online.
What Are Boolean Operators?
How Do Boolean Operators Work?
Common Types of Boolean Operators
AND / keyword1 AND keyword2
OR / keyword1 OR keyword2
NOT / "keyword" NOT keyword
Quotation Marks / keyword "keyword"
Parenthesis / (keyword OR keyword) keyword
*Truncation
Using Boolean Operators in SEO
Boolean operators are a set of commands used with search engines, databases, and online catalogs. These commands combine or exclude keywords to expand or narrow a search. Either way, they help return search engine results pages (SERPs) that are more "in tune" with a searcher's true intent. Eliminating unwanted hits, these commands save time and effort.
Understanding how boolean operators work is important for search engine optimization (SEO) specialists and non-specialists alike. Whether you're performing research for a school paper or for a client, these commands can come in handy.
Otherwise thought of as shortcuts to better results, boolean operators are essentially just a way to tweak an algorithm. The word "boolean" itself denotes a system of algebraic notation. In other words, when you insert a boolean operator into a query, the search engine looks for certain logical relationships between your chosen keywords, depending on which operators are used. It is then able to return much more efficient results — if you know what you're doing.
While Google has some of its own unique operators, many of the most common search operators are actually just Boolean. "AND," "OR," and "NOT" are among the most commonly used Boolean operators supported by Google, though commands utilizing quotation marks, parentheses, truncation, and more, get their fair share of use as well.
Different search engines and databases may use variations of the following Boolean operators. While Google asks the searcher to type them in capital letters with quotation marks (to help distinguish operators from keywords), others may have a more nuanced form of punctuation. Either way, an operation's exact input can usually be found on your search engine's help screen.
Below are a few of the common boolean operators.
Visit our blog to learn more about search and search engine optimization.
Read our comprehensive SEO keyword research guide to learn how you can get your web pages to show up higher in the SERPs.
Check out our ultimate link building guide to learn how to earn powerful backlinks to empower your web content in search.
The boolean operator "AND" informs the search engine that all keywords must be found in each SERP. This allows you to search for two or more terms at the same time. By using this command, search engines should return fewer, but more relevant results.
If you wanted to research human resources, but more specifically their recruiting process, the following search may return the best results:
Human resources AND Recruiting
The boolean operator "OR" informs the search engine to return either (or both) keywords. This allows you to broaden a search. These are good for including synonyms of a word, phrase, or title.
If you wanted to buy new forks and spoons for your home, the following search may return the best results:
Silverware OR Utensils
The search will return articles about just silverware, just utensils, or both. Likewise, if you were looking for colleges, knowing you wanted to go to one in New England or in California, the following search may return the best results:
Best Colleges in New England OR California
The command "site:" limits results to a specific website. This command can be helpful when looking for a particular piece of content on a given website.
Simply type in "site:" followed by the website's URL:
site:www.pageonepower.com
A search for the term "links" on this website, for instance, could be performed by typing:
site:www.pageonepower.com links
If a site has a search glossary, you can add /search-glossary to narrow your search even more. The same goes for blogs and other website-specific features.
site:www.pageonepower.com/search-glossary
The boolean operator "NOT" allows you to search for one keyword while excluding another. Google and Yahoo use a minus sign (-) in place of the command NOT.
This command can be used to find a keyword that has two different meanings or associations. If you were searching for the company "Apple" rather than the fruit, the following search may return the best results:
Apple NOT Fruit
Quotation marks indicate that a search must be returned in that exact syntactical order, making these good for long-tail keyword research. Without quotation marks, words in a phrase are treated separately.
If you were looking for a blue dress with a flower print, the following search may return the best results:
"Blue dress with flowers"
Without quotation marks, the search engine may also return results for only dresses, only blue dresses, or even blue dresses with people holding flowers.
Parenthesis tells a search engine what to prioritize. Any keywords included in parenthesis will be calculated first. These are generally used to bolster searches with the command OR.
If you were interested in learning about the politics in India, the following search may return the best results:
(Politics OR Government) India
Since the words "politics" and "government" are often used interchangeably, including the command OR makes logical sense. Adding parenthesis then organizes the search.
Truncation allows you to search the root form of a word, making it useful to find multiple endings of the same word. This command is usually executed with an asterisk.
The following command, for instance, could return results for bank, banks, banking, bankers, bankruptcy, and more:
*Bank
Utilizing boolean operators and creating quality content is a two-way street. Boolean operators can only make a search more productive if the content truly reflects its intent. A page on "youth and politics," for instance, may not show up if its title tag and headers do not match the body of the text. Likewise, using boolean operators allows you to find optimized content that is more suited to your search.
Below are a few examples of how boolean operators can be used in SEO:
Finding related or supporting content on your site for internal linking purposes;
Looking for unlinked brand mentions on the web to outreach for link building;
Trying to better understand searcher intent by analyzing related or similar keywords;
Double-checking your site for duplicate or cannibalized content;
Conducting competitor research to see if your site's top competitors are covering the same content or keywords;
Assessing your content for originality by checking if anyone else covered a given topic.


I was hunting for a speedy cure of the common cold, and found one that I liked.
Put the hat on one of the corner poles of the bed and drink the whisky till you see two hats.
Maybe I should do that every day to prevent cold.


Two weeks ago Utah's governor signed into law the most sweeping school voucher program in America that will, in time, give all students a scholarship to attend schools of their parents' choice.
"It is the most comprehensive school choice program in the nation," says Dan Lips of the Heritage Foundation.
Utah's poor children (who get free or reduced school lunches) will be eligible for scholarships, as will all kindergarten children next fall. The following year, all first graders plus kindergartners will be eligible as vouchers are phased in. By 2020 all students could receive school vouchers to attend a school of their choice.
The scholarship amounts are determined by family income. A family of three with a $30,710 income could get a $3,000 voucher. One earning $61,420 could receive $2,000.
The idea for universal school vouchers was first proposed in 1955 by Nobel Laureate economist Milton Friedman as a way to give families the opportunity to shop for the best school for their children, and force schools to compete in offering superior services to attract students.
It is a classic conservative economic proposition favoring competition and choice over the public school monopoly. It is also one of the few ideas that Republicans have for offering minority students genuine new opportunity. Vouchers also offer a lifeline to preserve parochial schools in cities which have been closing as Catholics have moved to the suburbs.
Dan Curtin of the National Catholic Educational Association, says 6-8 parochial schools in Washington D.C. would have had to close, not just two, if it were not for federally funded vouchers. Detroit, with no vouchers, closed 21 schools. Finally, taxpayers save money since the vouchers are set at about half the per pupil cost of public education. Washington's program gives $7,000 vouchers while city schools spend $14,000 for miserable education.
Vouchers have been fought wherever they have been introduced by teacher unions on grounds they siphon off funds to improve public schools and help a few students rather than many. More surprisingly, they've been opposed by the NAACP, though the beneficiaries in Milwaukee, for example, are 96 percent black.
Milwaukee's NAACP charged that vouchers violate the Fourteenth Amendment's equal protection clause, because some parents would choose to send their children to "virtually one-race schools," while "racially separate schools are inherently unequal."
Huh? Only 35 percent of the freshmen who entered public high schools in Milwaukee in 1992, graduated in four years. In one school only 13 percent did. Compare that to Catholic Messmer High School with a 98 percent graduation rate. Also, many of the private and religious schools in Milwaukee are more integrated than their public counterparts.
No wonder polls reveal 90 percent of the city's African-American parents favor a program that gives 17,000 students, a fifth of the public schools, an opportunity for private education.
This year 150,000 public school students received vouchers across the nation. What have been the results?
Dr. Jay Green, an endowed professor of educational reform at the University of Arkansas, has conducted or overseen eight studies. Vouchers are so popular with parents that three times as many apply for them as there are funded spaces. Therefore, Green compares how well students did who got the scholarships vs. those who wanted them but lost in the lottery. This is like comparing those receiving a new drug vs. a placebo, the scientific gold standard..
Green says that students receiving scholarships "close the gap between black and white tests scores by a quarter," about 6 to 7 percentile points of the 21 percentile gap. In Milwaukee, students did 6 percentile points better on reading after four years and 11 percentile points better in math. In Washington Catholic inner city schools, 94 percent of second graders are at or above grade level.
Equally important, Green reports, "The public schools rise to the challenge and do better." He found that the competition prompts public schools to improve about 5 percentile points, as in Florida where Gov. Jeb Bush pushed through legislation to give students in failing schools vouchers to exit..
Finally, Green reports that expanded public school choice promotes civic values, such as greater tolerance of those from different backgrounds, less segregation and more volunteering by students to serve others.
Good reasons for every public school system to consider offering vouchers not just to poor students, but to all students based on the Utah model.
The editor of Bermuda's "Royal Gazette," suggested that readers of my columns on William Wilberforce, might consider signing a petition to end modern slavery at www.antislavery.org/2007/actionsign.


text:
Q: How do I theme the whisker menu in Xubuntu 16.04 LTS? I'm running Xubuntu 16.04 with whisker menu and trying to change the theme of whisker menu. I have read several tutorials but without success. I have in my home directory a .gtkrc-2.0 file  with this content:

Also I read that I need to add this configuration in /home/vladimir/.config/gtk-3.0/gtk.css. I did but NO effect.
As well in /home/vladimir/.config/gtk-2.0/gtk.css. NO effect.
What I'm doing wrong? Is something is missing?
Thanks, Vladi

A: Hey I have found a little more info on this issue but at least I hope to point you in the right direction, the confusion seems to be that whisker menu uses GTK 3 these days and so older methods are no longer viable.
Instead, try navigating to '~/.config/gtk-3.0/' and edit (or create) 'gtk.css' in this file you can make changes similar to the older methods, for example:
#whiskermenu-window {
    background-color: #404040;
    color: #ccc;
}

/* Make sidebar buttons match */
#whiskermenu-window button {
    background-color: #404040;
    color: #ccc;
}
#whiskermenu-window button:hover {
    background-color: #808080;
    color: #fff;
}
#whiskermenu-window button:checked {
    background-color: #606060;
    color: #fff;
}

/* Make treeview match */
#whiskermenu-window treeview {
    background-color: #404040;
    color: #ccc;
}
#whiskermenu-window treeview:hover {
    background-color: #808080;
    color: #fff;
}

and then re-login to see if that has any effect.
Source: https://gottcode.wordpress.com/2017/10/21/theming-whisker-menu-redux/

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This article focuses on Visualizing Venice, an interdisciplinary, cross-cultural collaboration that engages in mapping, 3-D modeling, and multimedia representations of historical change in Venice, Italy. Through a "laboratory" approach that integrates students and faculty in multi-year research teams, we ask new questions and pursue emerging lines of inquiry about architectural monuments, their relation to the larger urban setting, and the role of sculptural and painted decoration in sacred spaces. Our practice of digital art history transforms both teaching and research and provides new means for communicating knowledge to a broad public.
This paper focuses on aspects that can be looked upon in translating typography found in the urban environment of Dhaka and Chicago, how we can relate and interpret typography with the help of contextual design elements, images as well as historic references. Layers behind perception of typefaces, variation in the geographic location of two cities moreover the cultural differences make it an even more interesting subject matter to examine.


"Went on a whim and got these Croc sneaks for an upcoming cruise. They are SO light and comfy. I'm a 7.5 and opted for a half size larger. These fit perfect with a pair of socks. I may change out the laces, but the color combo is perfect! Wore these for a work out tonight and they felt like jumping on air!"


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Blog: Timbera Mayor
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Timbera Archives - 2009
Timbera Archives February 2009
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Michelle White - Timbera Archives June 2009
Monday June 29 2009 - Salsa Mayor Tour
Maykel Blanco y Salsa Mayor have sent out the concert dates that are confirmed so far for the summer tour. They will be doing the festival circuit: Milan, Rome, Belgium as well as a number of concerts in Italy and even in Copenhagen. Stay tuned for more tour updates.
Friday June 26 2009 - Patrick Bonnard on Havana D'Primera
Last week on a whim photographer Patrick Bonnard and some friends decided to rent a car and head out to the countryside to catch Havana D'Primera. I'm glad they did. The concert was held in a field under a big tent and the atmosphere was lovely. Patrick has shared a few of his great photos from that evening with us. Click here to see the gallery.
Havana D' Primera by Patrick Bonnard
Wednesday June 24 2009 - La Barriada to Europe
It's been a few years since I've seen La Barriada but they are coming back to Europe riding the wave of popularity after the 2008 release of "Havananza". The CD was one of the Best Of 2008 pick at Descarga and made a strong showing among Cuban music fans. the band will be touring in October/November. If you haven't seen them before, makea point of finding a concert near you. We will post the concert dates as soon as they are available. In the meantime enjoy the video of "Sigue con la rumba".
La Barriada con "Sigue con la rumba"
Tuesday June 23 2009 - Los Van Van Info
The tour cancelation as far as we know only relates to the European tour dates. The concert at the Montreal Jazz Festival with Afro-Cuban All Stars on July 12th is still on according to the Jazz Festival, you North Americans don't have to worry.
Report from Calle Real Release Party
On Monday June 15th, 2099 Calle Real celebrated the release of their second album, "Me lo gané", at Mosebacke in Stockholm. It was an outdoor event and well attended despite the chilly temperature. Click here to read the concert report.
Calle Real Release Party
Monday June 22 2009 - Samuel Formell is OK but Los Van Van Tour Canceled for the Time Being
Rumors have been circulating for days now after Samuel's accident. Fortunately, the original horror stories of a car accident were not true. However, he did burn his face in a cooking accident. Samuel told us that he is undergoing treatment which will be completed in 15 days. No surgery is required and it is not expected to leave any scars but it does hurt a lot. Samuel would like to thank all of the fans who have expressed concern for him. So in a few weeks he'll be back again.
In the meantime the band's manager confirms that Los Van Van will not look for a replacement for Samuel. When they tour, it will be with Samuel. This means that a number of concerts will be canceled, although at this point it isn't clear when they will be back. As soon as we have more information about concerts we'll post it.
Timba.com would like to wish Samuel a speedy recovery and we are looking forward to seeing him and the rest of the band back on stage soon.
Friday June 19 2009 - La Timba de Suecia Series
La Tremeda Début CD Released and Section Launched at Timba.com
Don't ask me where the Stockholm/Havana connection comes from, but timba continues to gather strength here, the most recent example being the new CD by La Tremenda. Let's face it, the band has such a great name that the best thing to do was not to name the CD anything. The CD has 9 songs, seven of which will satisfy both dancers and DJs and two of which are ballads. The music is highly danceable, funky timba but has some exciting elements that give them a distinct sound. There are nuances of Charanga Forever, Klímax and Los Van Van but you will not mistake La Tremenda for any other group. Most vocals are sung by Lesmer Solenzar (Klímax, NG La Banda), but Thomas Eby and Alexander Abreu each sing lead on one song and there is a Latin fusion pop ballad in English sung by Ander Von Hofsten.
Check out the La Tremenda section to learn more about Scandinavias latest contribution to timba. Click here for the full album review including a link to a medley of songs from the album so you can see what I'm talking about. There are also links to the lyrics. See also La Tremenda's MySpace site.
The CD will be available at iTunes in a couple of weeks and can be found on-line at Most Wanted Latin Music. They are distributed in the US by Reyes Records in Miami and G.B. records in New York, but I don't know for sure when the hardcopy will be available there.
Wednesday June 17 2009 - La Timba de Suecia Series
El timbalero mayor Calixto Oviedo is taking some time out from his tour schedule with Afro-Cuban All Stars to perform with Didara Band at Nefertiti Jazz Club in Gothenburg, Sweden on August 28th. The bandmembers are Lily Hernandez - vocals, Calixto Oviedo - drum/timbal, Yasser Morejon - bass, Carsten Kare - piano and special guest Fredrik Kronkvist - sax. Tickets are available at Nefertiti's website or at Ticknet. Timba is my favorite music, but the jazz environment really provides Calixto with some great opportunities for mind-blowing solos. You don't want to miss this show! And stay tuned for more info about the upcoming Afro-Cuban All Stars tours.
Me Lo Gané Officially Released in Sweden Today
The CD is available in Sweden as hardcopy as well as at iTunes and at CDON. If you read my review, you know that I strongly recommend Me lo gané. It's a great dance album and also fun just for the little nuances that let you know it's not Cuban timba. The release concert was held on Monday and I will soon post a short report... wait, strike that! The guys are being very specific about saying it was not a concert but a promo for the new album. OK, but it sure seemed like a concert to me...albeit with only songs from the new album. So stay tuned. I've been playing around editing the video but I'm still trying to work out what is the best format for uploading it to YouTube. When I finally settle on something and know the links are permanent, I'll post the concert...um...promo report here.
La Tremenda Coming on Friday
If today is Calle Real's big day, Friday, yes Midsummer's Eve to all of you here in Sweden, will see the release of La Tremenda's début as well as the launch of their Timba.com section. So unless you are here in Sweden sitting outside under an umbrella eating pickled herring and drinking snaps in the rain, be sure to check back with us on Friday.
Saturday June 13 2009 - Havana D'Primera Kick off Premier Tour Today
Tonight marks the historic occasion of the premier concert of Havana D'Primera in Europe. It will be held at the Festival Peña y Salsa in Bayonne, France. Although I am heartbroken that I can't be there in person, I can console myself with the concert reports and videos posted by Gabriel during her Havana trip until I can catch one of the concerts later in the tour. Click here to find a concert close to you.
Ahora que buscas? Más videos?
Check out Yemayasverse at YouTube for more great videos
Pepito Gómez Official Web Site
José "Pepito" Gómez has launched a very nice, professional site with all the information you could possibly want and some you probably didn't even know you wanted. He has kept busy since moving to the US with guest appearances at many concerts including an improv with the Afro-Cuban All Stars. So check out his site which includes a bio, music, video and more.
BNK Official Blog
If you've been wondering where in the world pop-singing brothers Boni N Kelly are these days...just check their blog. They started it in May and it seems that since their trip to Spain, they have slowed down a bit on their posts, but that doesn't mean there aren't updates. You can check out the video of their Spanish tour. There is also a forum, photo gallery, video gallery and a music player with unsatisfyingly short audio clips from their album.
Friday June 12 2009 - La Timba de Suecia Series:
We are having a cold, grey start on summer here in Scandinavia, but fortunately things are hot here in the world of timba, downright tropical! La Tremenda will release their long-awaited debut album on June 19th. As you may already know, I am about to launch the section for La Tremenda, but in the meantime here is a little teaser. The band has updated their MySpace site with more information about the band and bandmembers as well as the cool graphics from the album cover. The great thing about the timba world here in Sweden is that just like in Cuba, each band has it's own sello. So stay tuned for more on La Tremenda, including some audio!
¡Prepárense que La Tremenda está llegando!
N'Taya and Melao at S.O.B.s
On July 10th N'Taya will perform two shows at S.O.B.s and Melao will be working the turntable. The shows are at 8pm and 10pm, but doors open at 5pm with a dance lesson at 7pm with ladies getting in free before 7pm. So all you timberos and Cuban music fans in and around New York should be sure not to miss your chance to catch N'Taya live. If you haven't heard them yet check out their MySpace site.
Friday June 5 2009 - La Timba de Suecia Series:
Interview with Patricio Sobrado and Thomas Eby of Calle Real
I continue my report on the timba scene here in Sweden with an interview with Patricio and Thomas, the director and lead singer, respectively, of Calle Real. We had planned to do the interview in one of Stockholm's few skyscrapers (a full 26 floors!), formerly known as the "taxscraper" because it housed the Tax Authority, now converted into a mall, student housing and a restaurant and bar with a breathtaking view of the southern island of Stockholm. However, we were shut down by the bouncer who said interviews had to be arranged in advance and held during the day when there were no customers.
So we wandered off to the nearby Clarion Hotel which also has a nice view from the bar but there was a jazz band playing. So we went out onto the terrace of the Clarion where the smokers go, since indoor smoking is prohibited in Sweden. It was actually a nice, relatively warm evening, about 8pm. Of course the Clarion just happens to be directly under the flight pattern for Bromma airport and also relatively close to a hospital. This explains the occasional siren and the numerous airplane sounds during the course of the interview.
The video interview was conducted in English so that will be a relief for those who don't speak Spanish or perhaps speak Spanish but don't understand Cuban. Here are some comments from the interview, taken completely out of context, in order to pique your interest.
"No, we hate each other"
"It's not like they don't get paid if they don't do what I'm saying...Nobody gets paid so it doesn't matter"
"We're not virgins anymore"
"Can you make it with a feminist lyric?"
"It's a very weird song in the beginning"
"We don't get it up, we go down"
Click here to watch the interview (WMV) and find out what prompted all those comments.
Wednesday June 3 2009 - La Timba de Suecia Series:
Calle Real live in France
Stockholm is a hotbed of Timba activity these days. Calle Real's new CD will be out on June 17 followed closely by La Tremenda's début which will be released by Wallboomers on June 19th. So I will be working on a continuing series about what's happing up here near the arctic circle. Yesterday I posted a review of Calle Real's new CD Me lo gané and today I came across a video of La eternidad del amor performed recently in Bordeaux. It's pretty decent audio quality considering it's a fan video with the ambient sound. So check it out. And keep in mind that this is one of the "softer" romantic songs on the CD, which is a monster dance album. Stay tuned for the interview with Patricio and Thomas coming later this week.
Calle Real perform La eternidad del amor in Bordeaux, France
Tuesday June 2 2009 - La Timba de Suecia Series:
En La Calle Otra Vez - Call Real is Back and Hotter than Ever
If you live in France you may already have been lucky enough to obtain a copy of Me lo gané at their recent concert at the Festival Salsamistad. If not, don't worry. The official release date is now set for June 17. The festivities will begin here in Stockholm on June 14 when Calle Real will perform on TV4 morning news program. On June 15th they hold their release party at Moseback, which conveniently happens to be very close to my home. With a little luck we will have good weather and they will play outside in the garden overlooking the Old Town. I know it will be packed so get there early!
If you are already a fan you are going to love the new CD, which takes up where Con fureza left off bringing even more inventive arrangements that still bear the trademark of Calle Real's heavy groove factor. If you've never listened because you don't really trust anyone but Cubans to provide you with your timba fix, you need to give this try. There is a reason that bands are performing Calle Real covers in Peru, the US and Australia, and I have no doubt that when you hear the first bars of Somos familia, the brilliant opening song, any misgivings you may have had will fade away.
Thomas: Calle Real está aquí de nuevo, Pa'l mundo entero
Todos: No me paran con una bala, no me paran ni con dos
Todo sigue con la misma ala, marcha dura y con la misma voz
Inolvidable es mi nombre, interminable es mi andar
Incansable es el ritmo que, yo te traigo pa' tu bailar
Click here for a review of the new CD and links to the lyrics. And stay tuned for part two of the Calle Real report: an interview with Patricio and Thomas which will be up later this week.
miércoles, 23 marzo 2011, 03:32 am
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text:
Млыниска — название населённых пунктов на Украине:

 Млыниска — село в Жидачовском районе Львовской области.
 Млыниска — село в Теребовлянском районе Тернопольской области.

redpajama_set_name: RedPajamaWikipedia


text:
Holarrhena mitis är en oleanderväxtart som först beskrevs av Vahl, och fick sitt nu gällande namn av Robert Brown, Johann Jakob Roemer och Schult.. Holarrhena mitis ingår i släktet Holarrhena och familjen oleanderväxter. Inga underarter finns listade i Catalogue of Life.

Källor

Oleanderväxter
mitis


Kafka Streams simplifies application development by building on the Kafka producer and consumer libraries and leveraging the native capabilities of Kafka to offer data parallelism, distributed coordination, fault tolerance, and operational simplicity. In this section, we describe how Kafka Streams works underneath the covers.
The picture below shows the anatomy of an application that uses the Kafka Streams library. Let's walk through some details.
Logical view of a Kafka Streams application that contains multiple stream threads, each of which in turn containing multiple stream tasks.
Kafka Streams currently supports at-least-once processing guarantees in the presence of failure. This means that if your stream processing application fails, no data records are lost and fail to be processed, but some data records may be re-read and therefore re-processed.
It depends on the specific use case whether at-least-once processing guarantees are acceptable or whether you may need exactly-once processing.
For many processing use cases, at-least-once processing turns out to be perfectly acceptable: Generally, as long as the effect of processing a data record is idempotent, it is safe for the same data record to be processed more than once. Also, some use cases can tolerate processing data records more than once even if the processing is not idempotent. For example, imagine you are counting hits by IP address to auto-generate blacklists that help with mitigating DDoS attacks against your infrastructure; here, some overcounting is tolerable because hits from malicious IP addresses involved in an attack will vastly outnumber hits from benign IP addresses anyway.
In general however, for non-idempotent operations such as counting, at-least-once processing guarantees may yield incorrect results. If a Kafka Streams application fails and restarts, it may double-count some data records that were processed shortly before the failure. We are planning to address this limitation and will support stronger guarantees and exactly-once processing semantics in a future release of Kafka Streams.
As mentioned in the Concepts section, each data record in Kafka Streams is associated with a timestamp. Based on the timestamps of the records in its stream record buffer, stream tasks determine the next assigned partition to process among all its input streams. However, Kafka Streams does not reorder records within a single stream for processing since reordering would break the delivery semantics of Kafka and make it difficult to recover in the face of failure. This flow control is of course best-effort because it is not always possible to strictly enforce execution order across streams by record timestamp; in fact, in order to enforce strict execution ordering, one must either wait until the system has received all the records from all streams (which may be quite infeasible in practice) or inject additional information about timestamp boundaries or heuristic estimates such as MillWheel's watermarks.


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Websites and Mobile Apps built by The Fast Bite are all built with our commission free online ordering platform. That's right, all of the money from every transaction goes directly into your bank account, we don't take a cut.
Mobile apps are the future; your customers will thank you when you get a custom built mobile app for your restaurant built by The Fast Bite. Let your customers order how they want, where they want.
The Fast Bite lets your customers order how they want, through your restaurants own website, and mobile app. Manage incoming orders how you want, through Fax, Tablet, Email, or Web App, and get the full benefit of owning your customer data.
Use our Order Management System, Admin Dashboard, and Marketing Tools to develop targeted promotions, digital strategies, and build your brand with the help of our Online Marketing Support Team.
The Fast Bite will create a completely customized website for your restaurant, complete with our commission-free online ordering platform. All of our websites come completely mobile and search engine optimized.
Let your customers order how they want while on the go with a custom branded mobile app for both iOS and Android. Set up reward programs and boost your to-go business!
Manage incoming orders however is most convenient for your restaurant, using Fax, Email, Web App, or Tablet. It's completely up to you!
Utilize our powerful Admin Dashboard web portal to view all of your customer data, order reports, and set up special promotions to run through your app and website.
Sophisticated tools like push notifications allow you to market special deals directly to your customers. You can even send specials to customers within a set radius of your restaurant.
Our dedicated support specialists are available around the clock to assist you and help ensure that your brand new custom order online platform succeeds!
I had The Fast Bite develop my new website for my restaurant Krave It Sandwich Shop & Eatery, and they made me a Mobile App for iOS and Android too. It was one of the best decisions I have made for my restaurant.


text:
GRT planning partial bus pass refund for students following strike
Conestoga College students who bought a bus pass this semester may receive some cash back, weeks after an 11-day transit strike left many of them scrambling for new ways to get to class.
The total? $37.50 per pass holder, according to Grand River Transit (GRT) officials.
"For the inconvenience, we are reimbursing 50 per cent of January," John Cicuttin, manager of transit development for Waterloo Region, said on Wednesday.
The wait won't be long, however, as more information on how it will be organized could come as early as Monday.
"Early next week we'll have a message clarifying how [students] can get that $37.50," said Jacinda Reitsma, vice-president of finance and corporate services at Conestoga College.
Reitsma emphasized that this new refund is separate from the GRT Strike Relief fund that was set up by the college to offset travel costs for students affected by the transit strike.
Conestoga's strike relief fund offers up to $200 to students who meet certain criteria and can provide receipts for incurred costs, such as cabs and Ubers.
Students can apply for that fund until Feb. 23 through the college's website.
The transit strike began on Jan. 21 when Unifor Local 4304, the union that represents operators, dispatchers, fleet mechanics and service attendants for GRT, turned down a contract from the region.
Bus service resumed on Feb. 1, a few days after the region approved a deal with the union.
"Our customer service staff are seeing Conestoga College students starting to come to the counters and ask for the refunds and we are advising them to hold off while we work on this with the college," said Gethyn Beniston, a project manager for GRT.
He said the refund may be processed differently based on how a student paid for the $300 pass.
The passes could be purchased with a credit card or Condor Cash, the school's digital currency, until the end of January.
Beniston added that it is ultimately the college's responsibility to make sure students receive the refunds.
Conestoga Students Inc. president Scot Wyles said in an email that he was aware of GRT's plans, but didn't yet know how and when students would be able to access a refund.
More than 5,000 people take the bus to Conestoga College's Doon campus on an average weekday, Spoke reported in November.
This story was first published on Thursday, Feb. 20 and updated on Feb. 21 to reflect new information provided by Conestoga College on planned timelines for student refunds.


The table on the right gives an overview on results of analyses of about 1 800 collected digestate samples during the time frame 2009-2012, in several Member States of the EU that was published by European Biogas Association (EBA).
Digestate can be directly applied after production to the nearby agricultural land, however, an accumulation of biogas plants in certain regions and their increasing number leads to an oversupply of digestate. The digestate needs to be transported to regions with nutrient deficits or otherwise processed. The transportation to distant areas causes logistical problems because the digestate consists of 95% water. Spreading is usually restricted to a few months in a year. In winter time it is normally not permitted as excess precipitation during these months can cause the fertiliser to run off the land and potentially contaminate local water sources. Big storage capacity is needed to buffer the digestate. If sufficient land area is not available, digestates have to be pretreated (e.g. sludge separation, NH3-separation, dewatering) before further use. Solid fractions are often separated from the digestate to undergo further composting. The separated liquid fraction of the digestate is in some cases partly re-circulated for substrate homogenisation or further processed i.e. aerobically purified. Digestate specific intense smell also negatively influences the quality of life of nearby population.
Digestate can be processed by different technologies. Each of the technologies has benefits and also limitations. The best solution for a specific biogas plant depends on its possibilities and needs.
Many biogas plants have introduced separation of liquid (liquor) and solid (cake) phases of the digestate. The solid phase is more suitable for fertalization use for both logistic and agro-technical reasons. The processes for liquor treatment are presented in the table below (summarized from Pell Frischmann Consultants Ltd: Enhancement and treatment of digestates from anaerobic digestion, 2012).


Here's the thing about venison—if prepared and cooked well, it's heavenly. If prepared poorly, it's disgusting. There is no middle ground. Cooking with venison can be tricky, which is why I compiled these venison cooking tips for you.
I'm willing to bet if you generally like red meat, but hate venison, it's because you've been the victim of sloppy prep work. The first season I spent cooking venison, I ruined a lot of it, mostly by over cooking it. Not being a fan of shoe leather, I read and read and practiced and practiced until I figured out how to keep the meat moist and tender, regardless of the recipe.
As the cook, a some of the responsibility for tasty meat is out of your control. The Hunter must properly harvest the venison—that means proper field dressing and processing. That's why we created a whole section of this site dedicated to that. If your Hunter brings home gamey meat, gently encourage him to read it and watch the videos (I recently had a professional butcher compliment the quality of Rick's home venison butchering technique). If you're buying your meat from a butcher or at the store, you rest assured that it's been harvested well and the meat will be divine.
The pages in this venison cooking tips section contain information about the health benefits of eating venison, the best ways to handle and prepare the deer meat, and venison cooking techniques so that your meals come out delicious every time.
Why is this a venison cooking tip? Because knowing what you are eating is step one in cooking it well. So, technically, the term venison describes the meat of any mammal killed by hunting. Throughout history, it applied to any animal from the families Cervidae (deer), Leporidae (hares), and Suidae (wild pigs), and certain species of the genus Capra (goats and antelopes). Today, however, is used almost exclusively to describe the meat from different species of deer.
The species of deer you're likely to eat will depend on where you live and/or where the hunter in your life hunts. Whether White Tail or Mule, venison meat is typically richer and leaner than beef, the texture supple and tender. Depending on its diet, the flavor of the meat will vary slightly. Typically, it has a full, deep woody/berry taste. Venison is kosher (as deer ruminate and possess completely split hooves), assuming they've been caught and slaughtered according to custom.
The traditional hunting season is October through December, beginning with the rut (when the bucks vie for the affection of does, who seem to love a good fight) and ending when mating season is over. In areas like Northern Virginia, where the herds are seriously over populated, the regular season runs from September to March, with many bow hunters able to hunt year round on damage-control permits.
While it is possible to find venison in stores in North America, it's somewhat difficult. Typically, you'll need to go to a specialty butcher or high-end market. The venison you get in stores is very likely from New Zealand. The best bet for getting North American venison is to find a hunter who is willing to share! Visit our links page to find where to buy venison on-line.