River: The Joni Letters (with Bonus Tracks) - Amazon.com Exclusive

Customer Rating:
Summary: Best interpretation of Joni Mitchell songs
Comment: Herbie Hancock takes classic Joni Mitchell tunes and makes them his own. Who knew that it would work so well? My favorite track is Court and Spark featuring Norah Jones on vocals. This is spell-binding. I heard this track on a plane, and immediately ordered the album. The rest of it is not quite as breath-taking, but well worth it, especially if you like jazz, and grew up on Joni Mitchell.

Customer Rating:
Summary: Grammy's Album of the Year
Comment: Herbie Hancock is one jazz pianist/composer who needs no introduction for when it comes to jazz music, his name always pops up and never goes unnoticed. He has recorded quite a number of jazz albums as a leader most notably his wonderful tribute to the timeless standards of George and Ira Gershwin entitled Gershwin's World. And not to mention his projects as a sideman to many jazz greats such as Miles Davis, Quincy Jones, Bobby Hutcherson, Hank Mobley, Wayne Shorter and Grant Green, to name but a few. For the record, he is one of the most honored jazz artists of all-time in terms of Grammy Awards, Academy Awards and other prestigious music awards.

"River: The Joni Letters" was recorded in 2007 under a prestigious jazz recording company, Verve Records. It is the winner for 2008 Grammy Awards for the most coveted "Album of the Year." So for fans of Herbie Hancock, this tribute recording to Joni Mitchell is a must-listen if they want to discover why it is an award-winning-album.

Here he is supported by some of the finest musicians in the jazz world namely: Wayne Shorter (soprano and tenor saxophone), Dave Holland (bass), Vinnie Colaiuta (drums) and Lionel Loueke (guitar). For a variety of vocal stylists, he has invited Joni Mitchell on "Tea Leaf Prophecy," Tina Turner on "Edith and the Kingpin," Norah Jones on "Court and Spark," Corinne Bailey Rae on "River," Luciana Souza on "Amelia" and Leonard Cohen on "The Jungle Line." To better experience and appreciate Mr. Hancock's piano artistry, listen closely to the purely instrumental ones: "Solitude," "Both Sides Now," "Nefertiti" and "Sweet Bird." The ingenious arrangements on all the tracks are written by Larry Klein and Herbie Hancock himself.

Jazz fans will surely enjoy Herbie Hancock's artistry on this winning album. For big fans of Mr. Hancock who are completists, it's a must-have.

Customer Rating:
Summary: 33&1/3 rpm still in use with vacuum tubes!
Comment: Hail hail hail to the victors valiant hail hail Michigan
There once was an time which many of you do not remember long ago before "8 tracks or Casingles" when Analog was king and vacuum tubes would amplify phonographic audio. Thought i would try some new music from Herbie Hancock on my wooden furniture. It still does its thing ! the groove really is groovy with great quality. Only problem is that no one on this side of the pond is printing vynil (I hade to get this from europe).

Customer Rating:
Summary: Herbie Needs To Retire
Comment: I think the title of my review says it all. Herbie Hancock is a brilliant pianist, but his output since the 70s has been terrible. It's like he isn't capable of playing beautiful music anymore and he can't swing anymore. This recording is just pure, unadulterated garbage. Why Herbie continues to record with vocalists is beyond me.

Everything about this album bothers me. It's like a bad orange, each layer you peel back the worst it becomes. Herbie should just do everyone a favor and go back to playing bebop, because that's what he was best at doing. He has proven time and time again that he can't do albums like these.

Anyone interested in hearing Herbie play music check out "Takin Off," "Empryean Isles," "Maiden Voyage," or "Speak Like A Child."

Jazz fans stay away from this one, it stinks!

Customer Rating:
Summary: Im-Possibilities
Comment: After being pleasantly surprised by Hancock's collaborations on "Possibilities," I was very disappointed is this effort, especially since I bought it after the Grammy's were announced. High expectations dissipated soon after the first track, as the album plods along and halts to a screatch with some rendetions, which are unrecognizable compared to Mitchell's originals. There are virtually no upbeat moments on this CD save for the title track, and the the dense arrangements require the listener to struggle to hear the sweet spot. Save your money on the CD and download one or two tracks instead. I'm headed for the nearest CD exchange store.