Chameleon. Herbie Hancock. 1973. Columbia.
Some artists leave evidence of their restless musical imaginations strewn across their corpus like impassioned signatures of timely obsessions. The omnipresent whisper of keyboard on your favorite Prince song; John Lennon’s tendency to revert to fifties pop song structures; the growing warmth in Dylan’s vocal delivery beginning with Blonde on Blonde’s fourth side. Herbie Hancock, when he wasn’t striking those lyrical chords of brilliance that gave flight to the grounded blues of Miles Davis’ second great quintet, was often drawn in his solo career to the crowd pleasing sense of order and organization that pop musicians tend to make so memorable. His wasn’t so much a restless mind as it was tireless, the difference being the sense of mess you want to leave your aesthetic; for all his adventurousness, Hancock leaves extremely cleanly produced recordings. Chameleon, from his landmark early seventies record Head Hunters, is jazz-funk fusion that tests the formal elasticity of both ge...