The Evolution of Mann: The Herbie Mann Anthology
Download links and information about The Evolution of Mann: The Herbie Mann Anthology by Herbie Mann. This album was released in 1994 and it belongs to Jazz, Crossover Jazz, Latin, Smooth Jazz genres. It contains 28 tracks with total duration of 02:17:40 minutes.
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| Artist: | Herbie Mann |
| Release date: | 1994 |
| Genre: | Jazz, Crossover Jazz, Latin, Smooth Jazz |
| Tracks: | 28 |
| Duration: | 02:17:40 |
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Tracks
[Edit]| No. | Title | Length |
|---|---|---|
| 1. | Baghdad / Asia Minor | 5:09 |
| 2. | Sawa Sawa de | 3:04 |
| 3. | This Little Girl of Mine With Tamiko Jones | 2:27 |
| 4. | Comin' Home Baby (Live At the Village Gate) | 8:37 |
| 5. | One Note Samba (featuring Antonio Carlos Jobim, João Gilberto / Joao Gilberto) | 3:23 |
| 6. | Blues Walk | 4:09 |
| 7. | Gymnopedie (featuring Bill Evans) | 3:18 |
| 8. | I Love You (featuring Bill Evans) | 7:04 |
| 9. | Soul Guajira | 2:48 |
| 10. | Mushi Mushi | 3:27 |
| 11. | Feeling Good | 3:29 |
| 12. | Philly Dog | 2:29 |
| 13. | Memphis Underground (Edit Version) | 7:06 |
| 14. | Claudia Pie | 4:42 |
| 15. | Muscle Shoals Nitty Gritty | 6:52 |
| 16. | Yesterday's Kisses | 4:19 |
| 17. | Push Push | 10:05 |
| 18. | Hold On, I'm Comin' (Live Montreux Jazz Festival) | 3:58 |
| 19. | In Memory of Elizabeth Reed | 3:39 |
| 20. | Mellow Yellow | 3:10 |
| 21. | Hi-Jack | 5:16 |
| 22. | Lugar Comum (Common Place) | 4:39 |
| 23. | Draw Your Breaks | 4:51 |
| 24. | Cricket Dance | 4:15 |
| 25. | Birdwalk | 7:37 |
| 26. | Aria | 4:52 |
| 27. | Dona Palmeira (Madame Palm Tree) | 5:57 |
| 28. | Amazing Grace | 6:58 |
Details
[Edit]This two-disc anthology doesn't cover Mann's bop or swing origins, instead concentrating on Mann's evolution from the 1960s to the 1990s. The first disc has more interest for jazz fans; it includes the influential "Memphis Underground" and "Coming Home Baby," showing his early flirtations with Latin and African music, as well as live workouts and Southern sessions. The second disc documents Mann's move into straight pop and light instrumentals, although near its conclusion he's returned to the groove-oriented Afro-Latin music of his earlier days. While there are questionable inclusions, especially the inferior live version of "Hold On I'm Comin'" rather than the definitive rendition from Memphis Underground, this set offers a good overview of a controversial but consistent musician.