When Herbie Hancock left Warner Bros. in 1971 after releasing three musically sound but critically and commercially underappreciated albums -- The Crossing, Mwandishi, and Fat Albert's Groove -- he was struggling. At odds with a jazz establishment that longed for his return to his Blue Note sound and a fierce consciousness struggle with free music and the full-on embrace of electricity since his tenure with Miles Davis, Hancock was clearly looking for a voice. Before diving into the commercial waters that would become Headhunters in 1973, Hancock and his tough group (including Billy Hart, Julian Priester, Dr. Eddie Henderson, Bennie Maupin, and Buster Williams) cut this gem for their new label, Columbia. Like its Warner predecessors, the album features a kind of post-modal, free impressionism while gracing the edges of funk. The three long tracks are exploratory investigations into the nature of how mode and interval can be boiled down into a minimal stew and then extrapolated upon for soloing and "riffing." In fact, in many cases, the interval becomes the riff, as is evidenced by "Rain Dance." The piece that revealed the true funk direction, however, was "Hidden Shadows," with its choppy basslines and heavy percussion -- aided by the inclusion of Dr. Patrick Gleeson and Buck Clarke. Dave Rubinson's production brought Hancock's piano more into line with the rhythm section, allowing for a unified front in the more abstract sections of these tunes. The true masterpiece on the album, though, is "Hornets," an eclectic, electric ride through both the dark modal ambience of Miles' In a Silent Way and post-Coltrane harmonic aesthetics. The groove is in place, but it gets turned inside out by Priester and Maupin on more than one occasion and Hancock just bleats with the synth in sections. Over 19 minutes in length, it can be brutally intense, but is more often than not stunningly beautiful. It provides a glimpse into the music that became Headhunters, but doesn't fully explain it, making this disc, like its Warner predecessors, true and welcome mysteries in Hancock's long career. ~ Thom Jurek, All Music Guide
Released in 1973, Sextant was Herbie Hancock's first album on Columbia Records. It was, and remains extremely complex, and a harmonically and rhythmically challenging musical statement. Hancock was no stranger to electronic music, having used synthesisers extensively during his short time with Warner Bros. Records, but Sextant took his sound to a new level, and arguably pushed the boundaries of the growing jazz-fusion movement further than any of his contemporaries.
Sextant was by far the furthest Herbie Hancock ever pushed himself musically. While a select few were collectively wowed by his new approach, Hancock alienated the bulk of his audience, who found his sound extremely inaccessible. Made up of just three tracks, the album recalls many of Hancock's critically acclaimed Blue Note recordings, but also points toward the commercial success he would enjoy in the 80s with Future Shock and Sound-System, among others. However, with Sextant, commercial success would have seemed a long way away.
Ironically, Hancock's first recording on Columbia would be his last recording with his Mwandishi-era group, with Sextant's poor album sales forcing him into the mainstream with Head Hunters.
