I heard this group at tiny Kuumbwa Jazz Center in September 2001 -- one night before they performed at the Monterey Jazz Festival. I cannot recall seeing a better performance ever -- and this includes seeing Herbie, Brecker, and Hargrove themselves many times. So, after learning this group had recorded an album (er, CD) I axiously awaited it's release. This recording does not disappoint! I believe all of the tracks on the CD were also performed when I saw them -- which makes sense since they recorded the following month.

The tour was a tribute to both Miles and Trane (75th Bdays for both) and the tune selection reflects this. I especially like the interesting treatments of Impressions and Stella by Starlight (called "Misstery" here).

Lastly, Hargrove's playing is perhaps the most creative I've heard from him. His blend with Brecker was amazing -- reminds one of Miles and Wayne Shorter.

Get this disc!

First, I'd like to address the complaint that bassist John Patitucci and drummer Brian Blade didn't make the front cover. The reason for this is that "Directions in Music" is Hancock, Brecker, and Hargrove. Directions in Music is now touring again, and I just got back from seeing their show in Minneapolis, where their drummer and bassist were Terri Lyne Carrington and Scott Colley, respectively. If there is ever a CD released as a result of the current tour, I suspect there will be similar indignation from Colleyacs and Carringtonphiles.

This CD is very advanced jazz. There is a level of abstraction here that demands that this music be listened to actively, if at all. That isn't to say that this is free jazz; there is a predetermined structure behind what you're hearing, but it feels loose and impressionistic. It is worth the trouble of warming up to. The rhythym section is delightfully responsive to the solos of Brecker and Hargrove, and that goes double for Herbie Hancock, who comes off as a complementary counter-soloist more often than not. Brecker and Hargrove use this support to their advantage. Their solos typically will develop slowly and deliberately, starting out ponderous and using spaces effectively as they build tension to a climactic point at which they get to use the full strength of their dexterity.

At this point, I must make the obligatory "______ alone is worth the price of admission" statement about Impressions. My previous experiences with this song have been Coltrane-styled modal romps. The Directions in Music approach to it was a stunning reinvention (a slow-developing Impressions!).

Naima is just an extended solo by Brecker. It should be treated as an intermission. It tended to get a little too showy as it wore on, but you can take it or leave it; other reviewers have chosen to take it.

I have heard nothing about plans for another Directions in Music CD, but if there is one, here's an idea of what to expect. The most obvious change is the addition of electronic effects in a few of the songs. Hancock has his keyboard, Brecker picks up an EWI (electronic wind instrument), and Hargrove even has a second microphone which he uses to get sound effects out of his trumpet. The concert was also in surround sound. The song selection was entirely different, except for a revisting of The Poet. They also played John Coltrane's Cresent, a tune which is designed to be played dramatically, patiently, and deliberately, so it fits Directions in Music like a glove. Brecker's intermission solo is on the EWI this time. He layers over himself until he's a regular one-man band, playing a funky version of Wayne Shorter's Pinocchio. Again, expendable, but perhaps you would be amused.

Pick this up, figure out what it's about, and keep an eye out for a sequel.

They share the same rhythm section, and that's more significant than may first be apparent. What Patitucci (bass) and Blade (drums) lend to each is a rock-solid grounding and and ace base from which to make exciting excursions.

How do they differ? What we've got here is just a kick-butt, in-your-face, out-'n'-out sonic assualt, not the nuanced, sophisticated, composition-oriented Footprints session.

Which is better? That depends on what you prefer: the beautiful, well-thought-out, burnished, polished, gems of Footprints, or the high-energy, burning, emotive, expressive music of Directions in Music. And that's not to say that the latter doesn't have its gorgeous moments: Check out "The Poet," a Hancock original filled with stark poignancy and dazzlingly beautiful moments, and Misstery, another stunning Hancock original. Plus, Naima, surely Coltrane's most deliciously seductive melody gets the full monty treatment, with a jaw-dropping solo intro by the inimitable Michael Brecker, perhaps never sounding more convincing.

It's just that there's a different vibe happening here, one that wants to newly evoke the glory of a bygone era--an era that, yes, is sorely missed, but to do it in a way that advances the music rather than just memorializes it. Whereas Footprints Live makes an immediate strong impression, Directions in Music takes a little longer to warm up to, but perhaps leaves a deeper mark on the listener. maybe it's because the latter initially sounds like an extended (albeit off-the-charts) jam session. It's only with repeated listenings that the deep musical values begin to reveal themselves.

From that standpoint, this is a marvelously succesful, even revelatory, disc. You'd be a fool to miss out on it.

Wow. This is one the best jazz cds I've listened to _ever_. I actually felt a buzz after listening to it the first time, like the intensity of the music made all the blood rush to my head.
Some highlights: First track - the band launches into Davis' The Sorcerer. It only takes a minute for the music to get really intense. When it's over you know you are listening to a great record. "So What/Impressions" is my favorite. Patitucci's intro based on Coltrane's "Equinox" is beautiful, things start real slow with the "head" and build up during the solos to an incredible intensity - my stereo was about to burst. Hargrove's and Brecker's solos on that are brilliant. Brecker's solo "Naima" and the "D Trane" are other highlights of the cd. Hargrove gets in a few recognizable Miles licks, which remind the listener of the purpose of the record.
My only complaint with the cd would be that John Patitucci's and Brian Blade's names should have been on the cover - they made this cd what it is just as much as the three headliners and they got recognizable names that sell records.
I think I'll go listen to it again :).

Jazz is on its knees in its very birthplace, the US of A. Why? Because the record companies insist on putting out museum pieces to a declining marketplace and the musicians themselves seem confused about what they should be doing. Over here in Oz we look on with some considerable apprehension because if jazz were to perish in the heartland then what of the rest of us? But salvation is at hand brothers and sisters because Herbie, Mike and co. have put out a CD with music that is gripping, exciting and as modern as can be. Not a cobweb in sight despite the title (which made one think that another tired "tribute" album was on offer). This stuff is electric and the featured stars are pushed to their respective peaks by the brilliant Brian Blade and John Pattituci. Get this CD and don't hesitate. If you aren't knocked out by it...check your pulse.