Two Sentinels, Three Decades Apart
Thinking About Herbie Hancock Group's Sextant and Matthew Bourne's The Electric Dr M
Sextant was the Herbie Hancock Group’s final release in 1973 before the group was disbanded by its leader. Hancock sought a wider popular audience than the Mwandishi group was able to command and struck gold with Headhunters' instrumental funk. Sextant now occupies an almost mythical place as precursor of much of the most interesting exploratory, improvised and electronic music of the last three decades. A number of commentators have noted a degree of congruence between Sextant and Matthew Bourne’s 2003 release The Electric Dr M. The following is undertaken in a spirit of investigation to trace the differences and similarities both in the music and – after Kodwo Eshun's pioneering More Brilliant Than The Sun – the graphic and textual narratives of the two works. Readers interested in learning more about the Mwandishi group should refer to Tony Herrington's definitive account in The Wire magazine.
The Visual
The Electric Dr M [view
cover]
The front cover is a pink vector mark on a grey background that might be
the stylised drag of night-time lights or the gestural mark of a brush –
either way it’s an isolated score made upon a flat plain of grey.
The colour scheme of the cover is strong pink on a dark grey background,
the text picked out in red and pink. This is clearly a very deliberately
designed cover, but on first impression it doesn’t appear to be entirely
reconciled with the music it contains. However the reduced colour palette
and noughties version of modern, technologised elegance does trigger associations
with the visual design of Roni Size’s New Forms album with
which it shares an abstracted, technologised message.
On the inner sleeve of the digipak is a colour picture of the group. Three
members of the band engage the viewer with direct stares, one filtered through
a self-conscious smile, one from below the hood of a sweat-top and one directing
an intent gaze from a face perched thoughtfully on a hand (I surmise that
this is Matthew Bourne), the other two look across and down in contemplation.
The setting is puzzling: a photographer’s mottled backdrop with the
only object a leather armchair for the group to lean upon (quite literally
a prop). They’re huddled together, at ease with their close physical
contact and dressed-down noughties clothing. The image clearly seeks to
communicate that this is a group of friends rather than a disparate band
of session musicians. There’s one other image – a black and
white picture of a man opening a door, half his face and all of his body
hidden inside what may be a toilet or outhouse of some sort. It looks like
it might be a band in-joke.
Ultimately, the cover design of The Electric Dr M appears to be both
an act of dissimulation (the two images) and a claim to modernity (through
association with a popular breakbeat album).
Sextant [view
cover]
The front cover is filled with a painting by Robert Springett which stretches
to all four edges and, like Mati Klarwein’s painting for Bitches
Brew, folds over to the back. The scene is dominated by a lowering crescent
moon turned on its side so that its concave arc points upward to cradle
the title: ‘Herbie Hancock Sextant’. Below the title, craters
are picked out in whitelight relief. Between moon and land lies a vivid
scarlet and gold sunset though no sun is visible. To one side rises a nightsky
laden with stars. There is a strong sense of apocalyptic transformation,
a dreamscape peopled by magical presences: two dancers dressed in African
tribal clothing dance on a flat plain which meets blue mountains at the
horizon. A Mayan pyramid stands in front of the mountain and before the
pyramid stand horses whose outlines enclose the nightsky peopled by stars.
Above the pyramid floats a talisman. On the back cover a shaman engages
the viewer with a direct stare, his finger points at the moon and his mouth
is open as if in the act of communicating secret wisdom. Behind him a huge
blue Buddha’s head seemingly on fire with the rising sun stares flame-eyed
and blind while from the Buddha’s ear lotus flowers float on strings
of pearls.
Springett’s scene might be nightmarish but for the fact that the dancers
appear to be communing ecstatically with their surroundings. Serious magic
is at work here, there’s a congruence of signs which the viewer may
not understand independently, but the shaman will be our guide through this
blue night. There is a fourth world confluence here which, alongside Tadanori
Yokoo’s visionary artwork for Miles Davis’s Agharta makes
for a clear signpost pointing to Jon Hassell’s explorations.
The imagery sets a magical precedent and a visual counterpart to the music.
The listener may join the dancers – there’s space enough on
the plain. All that is needed is to place the record on the turntable for
a magical ceremony to begin. The cover art and the design creates and extends
the context in which the music is experienced.
The Textual
The Electric Dr M
The cd’s title is a partial acronym (dr m) of the first names of three
of the players. The electric reference signifies that this is an electric,
rather than an acoustic version of the group. The tracks are numbered using
latin numerals, implying a desire for the music to be viewed as a suite.
The track titles are mostly the names of people: Sally, Peebs, Rupert
with the possible exception of Ooji-Dooji, Pterodactyland The
Kabin. These titles are of less resonance and appear to perpetuate a
degree of dissimulation first evidenced by the cover design's obscure references.
Sextant
The album’s title unifies the album cover and the music: a sextant
is an instrument for measuring the distance between celestial objects. The
association of these three elements may be read to imply that the inhabitants
of this particular planet are not alone, that there is a wider universe
into whose mysteries the music will act as guide.
There are three tracks on the album. Each title is notably resonant: Rain
Dance in which the dancers on the cover may be taking part, immediately
triggers associations with aboriginal cultures and their relationship to
the natural and supernatural worlds. Hidden Shadows implies a certain
eeriness. Hornets being large stinging wasps are not an insect worth
the risk of annoying...
The musicians are listed on the back cover with their Zulu names capitalised
– Mwandishi, Mwle, Mganga, Pepo, Mchezaii, Jabali – and given
presidence over their western names. The instruments they play are listed
in detail - a trope which would be deployed extensively by techno music
in future decades. Only Dr Patrick Gleeson and Buck Clarke retain their
original names.
The Musical
The Fender Rhodes piano is the dominant shared connection between The
Electric Dr M and Sextant. The Rhodes sound as it has been deployed
since at least the 90s builds a bridge to a time when key musics were germinating
and flowering, when a politicised sense of the African continent as source
of wonder and myth prevailed. The Rhodes can therefore be viewed as an instrument
of time travel whose sound magically bypasses Thatcher and Reagan, the UK's
winter of discontent, scratchy new-wave, new romanticism and consumerism
- all the way back to the childhoods of current musicians and a time perhaps
of relative innocence. The Rhodes also symbolises a magical transformation:
the acoustic piano almost sunk by its association with mainstream culture
becomes strange and other, that transmutation being effected by the application
of electricity and amplification.
The Electric Dr M
A double bass cuts a repeated, slightly plaintive figure while percussion
and guitar rattle in rainforest effect. From time to time they’re
strafed by a metallic electric guitar and troubled by eerie wooshes. The
music floats, swirls and drifts, grounded occasionally by the anchor of
a lower bass note. Brief sonic figures come and go. Notes smear and smudge.
There’s no clear lead instrument: everything appears to be happening
simultaneously, everything has at least a similar weight in the mix. Midway
through, Ooji-Dooji's groove picks up and metamorphoses a number of times
before disappearing into reflective pools of Fender notes and ultimately,
silence. The atmosphere becomes increasingly queasy, eery and not a little
menacing. Ooji-Dooji’s refusal to cohere into any definite shape is
a key fascination.
Drums and guitar writhe and squirm before breakbeats almost literally kick
in. Drawn out screams signal a two-step landscape (think DJ Krush’s
dystopian workout Coded Language) underpinned by big double bass
notes. Peebs has a similar feeling of heaviness to Sextant’s
Hidden Shadows, but in a much more stripped down and dystopian way.
There's no melody, only warning sirens. The two-step chassis achieves maximum
streamlining by suffering no extra parts. Such reductionism is straight
out of techno - impossible to imagine Peebs being created anytime
before 1998. Two thirds way through, the two-step template is deconstructed
by unidentifiable instruments and shapeshifts into Electric Jazz territory.
Sally sees the two drummers divebombed by sundry synthetic missiles.
At under three minutes, it’s a miniature workout for Rhodes. Juanita's
bass notes bend downwards like intelligent depth charges. Pinki is
squelch-fonk, screech-glee, babble-tech, a tooled-up speed-phreak. Pterodactyl
must surely be named for the screaming, squealing sounds extracted by Bourne
on keyboards – from the sounds of it two of them are warring midair
over their prey. It’s a fast and furious workout which never pauses
for breath. This energy level is maintained and boosted into propulsive
meltdown on the penultimate track Rupert where the two drummers thrash
out a driving rhythm under shattering shards of electric guitar and keyboards
that seem to be sounding the end of time.
The final hidden track appears after a couple of minutes of silence and
is heralded by guffaws. Someone sounding stoned announces that the track
is called Paper Wraps Stone. It’s a mournful piece dominated
by slow melodica and heavy breaths and groans which stands in strange relief
against the preceding eight tracks, perhaps a little like the in-joke image
on the cover.
Sextant
Sextant’s jewel is its opening track, Rain Dance. This
piece might be a prayer for rain, but that prayer is more likely to have
been uttered on Mars in the hope that the planet’s red deserts might
bear life again. Its reverberations are heard through space arriving as
radio waves on our small and distant, green planet. Rain Dance reconciles
electronic timbres with acoustic instrumentation in a way which has yet
to be improved upon. The electronic rhythm which forms the first section
of the track is imbued with a rare funkiness. It is quickly joined by a
minimal (electronic?) snare hit, space invader gurgles and splats over which
Eddie Henderson blows an equally funky solo. Just over a minute in and there’s
a brief pause interrupted by a fleeting horn blast. Buster Williams’
modulating bass, high up in the mix, begins alongside the drums which are
all snares and cymbals. Together they seem to be carefully treading a path
through a dangerous electronic jungle. Herbie begins a minute long, echoplexed
electric piano solo hedged in on all sides by bubbling synths. His playing
is angular and funky - it’s a marvellous solo which builds to a crescendo
and, due to its basis in the blues, it’s also the most conventional
part of the track. It's succeeded by a marvellous Buster Williams bass solo,
unaccompanied with the exception of low level howling and burbling synths
and a little percussion. The original intro rhythm/soundscape fades in again
over the bass. Amazingly that’s it for acoustic live playing - the
remaining four and a half minutes are pure electronic dance which builds
and fades, appears to be subject to various forms of warfare as yet unfamiliar
to mankind, navigates through large and small panoramas and ultimately fades
to repetition and (stunned) silence. This last section of Rain Dance
points ineluctably to a posthuman world.
The closest analogue to the track's electronic soundscaping could be Louis
and Bebe Barron’s soundtrack for Forbidden Planet. Both share
an overriding sense of the unknown - perhaps the unknowable - which actively
invades the environment in which it is heard. Rain Dance is as other,
as out of time and as unrepeatable as Donna Summer and Giorgio Moroder‘s
I Feel Love. At its centre is a comparable cyborg soul, a fusion
of man and machine, a theme resoundingly explored later by Kraftwerk. There
is no point in sounding like Sextant, hence perhaps Matthew Bourne’s
irritation at such comparisons. Rain Dance is wholly of itself. It
sits in its own temporal pocket broadcasting its mutant signal to future
listeners and perhaps to other audiences across dimensions as well.
Hidden Shadows could be the music for a state dance on Dune’s
Arrakis, its stateliness maintained by a mellotron-informed gravitas. In
that bearing is a heaviness which might cause ships to sink or aircraft
to fall from the skies. Synthetic sounds scour its surface like sandstorms,
horn blasts rise up and blast off like rocketships. Herbie’s funky
solos arrive despite the inclement conditions and in so doing gain the appearance
of acts of rebellious heroism. His playing becomes infected by the atmospheric
conditions and, increasingly overamped, breaks up in glinting shards of
chaos. The rhythm is incessant, unremitting, nothing stands in its way that
will not be flattened as in the path of a steamroller. Solos appear to take
place within the mesh of the music, it’s as though they’re spied
through mashrabiyya screens, their colours enhanced by the abstract decoration
of numerous mosques. The group were known to play 30 minute versions of
this track live - even the thought of experiencing that first hand is exhilarating.
Hornets is a less messianic, driven experience. Instead it begins
in a playful place full of the shouts of crowds, the echos of rabble marching
bands and the spirit of young, gleeful children trailing and shouting along.
After a few minutes the tempo ratchets up, a Hum-a-zoo played by Bennie
Maupin snorts and buzzes around Eddie Henderson’s trumpet. Hornets
posits a potential ecosystem in which all manner of biological forms might,
and do, grow, mutuate and fade from view – each with its own form
and structure.
Examples:
- At 8:40 Maupin’s synthetic water-borne sax is pounded by thrashing, beating drums and mutates into a hornet which thrashes from side to side and flickers like the sound of moth wings which is then lost in a maelstrom initiated by Julian Priester’s trombone
- At 15:30 Herbie grows brief crystals which sparkle in the light before shattering into a million glinting pieces
- At 16:20 Herbie initiates a funky duet between keyboards and Maupin’s Hum-a-zoo which is strafed by alien attack ships
Conclusion
Sextant is saturated with funk and otherness to a degree that perhaps
only Miles Davis has equalled with On The Corner and Dark Magus.
Hidden Shadows and Hornets notably place live instrumentation
centre stage again, electronics provide colouration rather than core foundation.
Breathtaking though these two final tracks of the Hancock-led Mwandishi
sextet are, it is in this regard that Rain Dance stands clear of
them, sentinel-like down the years.
The Electric Dr M deploys consistently delicious sounds – swooping
whizzes and whoops, high-pitched dog ear twitchers, sonorous echos and so
on. Certain keyboard sounds such as the reverbed Rhodes rise straight out
of 70s Electric Jazz, but the majority of the solos bear forms extruded
from contemporary electronic rhythms. They’re more abstract and minimal,
more rhythmically oriented and repetitive than those of Sextant. Crucially
they’re not grounded in the blues forms which inform Sextant and in
particular Herbie Hancock’s playing. The Electric Dr M is determinedly
post-techno, post-two step. The rhythms are rooted in those musics –
fast, furious and harsh, they’re reduced to the minimum necessary
to achieve maximum motivic force (frequently a signature element of modern
dance music). Sextant and The Electric Dr M rise out of very
different musical landscapes and consequently their differences are more
marked than their similarities, but The Electric Dr M proudly continues
a dialogue with Sextant across the decades which I very much look
forward to hearing more of.
Published by Perfect Sound Forever