Herbie Hancock
Thrust

The fantastic cover speaks for itself: we are right in the midst of the creative funk-electric-futuristic period of Herbie Hancock. "Thrust" is the second work concerning the operation of the legendary Headhunter band, here composed of Herbie on electric piano, clavinet, and synthesizers (including the legendary ARP 2600), Bennie Maupin on winds (sax, flute, bass clarinet) Paul Jackson on electric bass and the new addition Mike Clark on drums, perfectly assisted by the great Bill Summers (the one who even used a beer bottle as an instrument) on the (numerous) percussion. 

Names that will become protagonists of one of the best episodes in all music.

The album, released in 1974 for Columbia, is composed of four tracks that continue the concept started on Head Hunters, its unforgettable predecessor released a year before and still the best-known work of the American pianist; namely, long poly-rhythmical jazz/funk jams rich in analog synthesizers skillfully manipulated by the bespectacled leader, here as well as illustrated by Rob Springett's brilliant artwork, already embarked on the journey to new sonic territories, begun with the visionary "Mwandishi" and "Crossings" and which will result in many gems of electronic experimentation, including the loved/hated "Future Shock". 

The lively synth-funk (if I may use the term) of "Palm Grease" seems to foreshadow what we will hear on the latter: the drums weave a simple, yet for the time avant-garde, hip hop beat (it's no coincidence Clark would later be heavily sampled in the scene) over which a determined repetitive bassline drags itself which isn't the only thing to closely remind us of the glorious "Chameleon." Percussions of all kinds (African, Latin, metallic) and congas by a perfectly invigorated Summers (magnificent especially the interventions on the log drum) complete Maupin's sax lines and the bold wah-wah riffs coming from Herbie's clavinet, which then progresses into synthetic sequences that pour into an exciting spatial outro complete with a cosmic surge similar to those heard in neighboring krautrock experimentalisms. 

This is the absolute highlight, as well as the most fusion-souled episode of "Thrust," showing us a Hancock evidently still dazzled by the splendor displayed at the court of his majesty Miles Davis. 

The second track, "Actual Proof", the one with the strongest jazz influences, is based on a groove that, as is classic with the band, develops articulated and complex; a phenomenal and incredibly inspired Clark on the skins makes the good and bad weather, Jackson weaves intriguing and luxurious bass spins, Maupin, engaged on the flute, opens and closes for Herbie, who in turn dominates the scene with a long, smooth melody on the Fender Rhodes, of which this track represents a very effective showcase.

In the masterpiece "Butterfly" - a warm ballad with smooth tones - Bennie Maupin, co-author, prevails, moving splendidly on sax and clarinet between calm motives in stark contrast to the fire of the two previous tracks; Hancock gently accompanies on the piano, also placing pioneering synthesized strings akin to those that animated "Vein Melter" on Head Hunters. The good support from Summers is noteworthy; it's curious to note how this track practically sounds identical to the vast majority of acid/nu-jazz productions of the last two decades... but there's no surprise, we're talking about an ever-forward musician! 

The exciting and hyper-percussive funk returns strongly on "Spank-A-Lee", strengthened by the incisive and always tight rhythm section of Mike Clark, Hancock's analog staccato canvases (also engaged on clavinet and piano), Maupin's energetic tenor sax solo, and an overall absolutely irresistible groove forging the 7 "easiest" minutes of Thrust: a work in my opinion even better (as well as funkier, more complex, more experimental) than the still immortal masterpiece Head Hunters.

After the fantastic work together, Clark and associates will continue without Herbie as a more traditional funk group (The Headhunters) bringing out a couple of really interesting albums, including the beautiful Survival of The Fittest, but they hardly manage to approach the sound so funky, cosmic, and cohesive of "Thrust". Hancock will instead continue the journey that through his ship will push him towards further experimentations.

A must-have!