Herbie Mann has really held up well over the decades in show business, especially when compared with other jazz greats. He always put in some experiments that involved both occupations and styles. The result is an almost unmanageable catalog own publications or collaborations that "brilliant" to "boring" cover the label as well as the areas of jazz, pop, world music or easy listening. Unlike many other artists there with him no right "heyday", rather protrude individual albums out of his work, some of which are flanked by at times almost frightening flat publications. When he was taken to Atlantic under contract, the label, which he almost continuously should keep faith with nearly twenty-five years he had seven wild years behind him, where he was able to record already more twenty publications, including with artists as diverse as Art Blakey Jack Sheldon or Chet Baker. This phase, in which his style as well as developed his skills as a "band leader" in this Original Album Series will naturally disregarded because Warner on these recordings have no access (or would have). Instead, engages in the large pot of Publications of the 60s or early 70s. It starts with the '61s Opus "At The Village Gate" and so with one of the great masterpieces by Herbie Mann. The album includes three pieces, but what man and his accompanying musicians, including Ray Collins, Hagood Hardy, Ray Mantilla and Ben Tucker, get out of this, is absolutely remarkable. Just under 39 minutes, not a single of them boring, convinced the album by his groove, his combination of bebop, bossa nova and cool jazz and not least because of the outstanding solos. "At The Village Gate" was the first really successful album by Herbie Mann - and quite rightly. A jump to the order chronological reasons: the journey will actually continue with the third album of the collection, "Nirvana", which was organized jointly with the Bill Evans Trio recorded in 1962, basically the direct successor of "Village Gate". Here man makes the world music aspirations of its predecessor completely rest and runs together with Bill Evans back to its unexcited, cool routine. Apart from some getting used to sound in this album clearly the problem is that here two people (man and Evans) play in the foreground, however not mutually want to take away from them, and two people in the background (Chuck Israel and Paul Motian) who want to put no real accents. Man must shine on "Gymnopedie" and "Willow Weep For Me" a little, the entire community to "I Love You", but that is not enough to lift the album in the above average range. Some albums later published in 1963 "Do The Bossa Nova With Herbie Mann". Here you can listen more closely again, because this album was created on the spot, ie: in Brazil. As if to prove may also likes of guitarist Baden Powell, singer and composer Antonio Carlos Jobim and his time still unknown pianist Sergio Mendes play their musical contribution and press on this album with their mark. This album moldy so far in the archives of Atlantic, on CD, the album of my knowledge has not been previously published, and you do not ask yourself when listening to why actually. Well, also here you could still improve a lot on the sound, but the choice of the pieces is roundly succeeded and the interpretation is gratifying alive and convincing. It is enough quality not to the live recording in the "Village Gate" approach, for a good seat in the second row but it is all good. Following is a huge step into the year 1970, when Herbie Mann had the bossa nova already mothballed and new forms of expression and combinations investigated. "Muscle Shoals Nitty Gritty" follows a little the concept that he on - had tried "Memphis Underground" last year - probably a bit worse, but still successful. The base formed funk and soul, the superstructure was then enriched with jazz elements. Also this album was not previously released on CD. Here you can listen to a dynamic aufspielenden Miroslav Vitouš (about the same time were formed Weather Report) and a good humored Roy Ayers along with Herbie Mann himself, who evidently the special atmosphere was very aware and accordingly some highlights continued, although its priorities more concerned about seem to lie to keep his fellow musicians happy. To conclude then "Hold On, I'm Coming" in 1973, also this album for unknown reasons previously unreleased on CD. About the tone one might also argue here - apparently should have some effect devices produce a "spacey" sound, which does not always fit. "The funky one with the flute" - so is Herbie Mann asked on stage - turns here on neat and shows to an audience, what he is able to tear. From the band that has been practicing with him in the studio to radio, none has been more left, here take guitarist Sonny Sharrock, drummer Reggie Ferguson and the restless Pat Rebillot who was to play with James Brown, Gloria Gaynor or Steely Dan. The result is one of the most consistent and best albums, the man presented in the '70s. It quickly developed into a great success and made sure that we in Atlantic sales of the following publications watched him. Warner certainly has made an excellent choice with the five albums; they show some facets of Herbie Mann and make long stretches appetite for more. Moreover, one has the opportunity seized immediately, hang up some long-forgotten and the stock slumbering albums in digital form, without pressing the quality to junk status. Conversely, it would have been a good idea to undergo a thorough albums sound revision or sift the master tapes, if any fall bonus tracks, because in both respects it was very economical with Warner. Thus, a somewhat mixed feeling between the joy of being able to buy a few good and previously unreleased on CD albums at a reasonable price, and the frustration is not always a satisfactory sound quality and, above all remains: no more than the known LP pieces delivered to get. Ultimately, the material should be on "Village Gate", "Hold On I'm Coming" and "Muscle Shoals Nitty Gritty" decisive, therefore four points, albeit scarce. As some parts of the "Original Album Series" have now already get missed a second part, to be also expressed the hope for a sequel. Man (n) would certainly have deserved it.
