© Think You?! The Proceedings of the Bay Honors Research Symposium, 2020. All Rights Reserved.

Rocking the Jazz World: A Cultural Exploration and Musical Analysis of Herbie Hancock’s “Chameleon”

by Mariva H. Aviram, City College of San Francisco

Mentor: Frederick Vincent and Omar (Sami) Kudsi

Figure 1 — Head Hunters album cover designed by Victor Moscoso

Head Hunters

When visionary musician and composer Herbie Hancock released Head Hunters in 1973, he changed the history of music. Hancock was by this time a seasoned musician of great renown in the jazz world, having already released eleven studio albums. Head Hunters challenged the conventions of jazz and forged new territory in the emergent genre of jazz fusion.

Head Hunters was recorded in San Francisco from August through September 1973 by Fred Catero and Jeremy Zatkin at Wally Heider Studios and by Dane Butcher and John Vieira at Different Fur Trading Co. Columbia Records released it as LP KC-32731 only a month later on October 26, 1973.1 The album went Certified Platinum and was celebrated as the number one hit on the jazz billboard

1 Head Hunters, https://HerbieHancock.com/music/discography/album/673/.

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chart, number two on the R&B chart for 46 weeks, and number thirteen on the pop chart for 47 weeks.2 In 2003, Rolling Stone ranked the album at number 411 on its “500 Greatest Albums of All Time” list.3

Head Hunters had a huge impact on jazz and funk and on the melding of the two genres. To better understand these genres, a little background on classification is required. Dr. Rickey Vincent teaches From Funk to Hip Hop, an African American Studies class at City College of San Francisco. In his authoritative tome on the subject, Funk: The Music, the People, and the Rhythm of the One, Dr. Vincent classifies the eras of Black American music from the 1960s through the 1990s into dynasties. Herbie Hancock's influence spans decades: his music falls into the Jazz-Rock category of the First Dynasty (late 1960s), the Jazz-Funk categories of the Second Dynasty (early to mid-1970s) and the Third Dynasty (late 1970s), and, finally, the experimental Black Noise category of the Fourth Dynasty (1980s).

Head Hunters was clearly influenced by the first and second funk dynasties. Hancock explained, “I knew that I had never heard any jazz players really play funk like the funk I had been listening to. Instead of getting jazz cats who knew how to play funk, I got funk cats who knew how to play jazz.”4 The biggest hit of the record, “Chameleon,” integrated a jazz bass line with a funk beat.

Then, in turn, the album influenced those same dynasties (jazz and funk) and expanded perceptions and definitions of the genres. Stephen Thomas Erlewine in a review for AllMusic wrote:

Head Hunters was a pivotal point in Herbie Hancock’s career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken). Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.5

The traditional jazz establishment at the time was resistant to the changes in the genre. Jazz in their view was supposed to be purely instrumental, not electronic. It certainly wasn’t supposed to feature a funk beat that drives “get down” danceability. Nor was it supposed to mix recognizable melodies with space-age weirdness. Herbie Hancock, and his mentor Miles Davis before him, upended these conventions. They embraced the massive changes in the culture, both political and creative, as well as in technology, that inevitably influenced the world of music. The jazz purists were about to be left behind.

2 Ibid. 3 https://SongFacts.com/facts/herbie-hancock/chameleon. 4 https://SongFacts.com/facts/herbie-hancock/chameleon.

5 Stephen Thomas Erlewine, “Herbie Hancock’s Head Hunters,” AllMusic, https://AllMusic.com/album/head-hunters-mw0000649551.

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The multi-talented jazz aficionado Bob Belden was a saxophonist, band leader, composer, arranger, and producer. He was also a music historian, record label executive, and writer.6 As a super-connector in the jazz world, Belden won the honor of penning the copious and eloquent liner notes for the 2013 Sony Box Set of The Complete Columbia Album Collection, 1972-1988.7 In these liner notes, he crystallized the way in which Head Hunters revolutionized jazz:

Head Hunters was on the cutting edge of the revolutionary changes that jazz music was going through in the early ‘70s. Jazz players were moving from the smaller clubs to larger arenas. The sound became electric. “Why not? Jazz is eclectic. Why can’t it borrow from rock ‘n’ roll? Some musicians decided to incorporate some of the rock elements into jazz. That brought about what was later called ‘fusion’.” Herbie’s Head Hunters also added the colors of Africa to their music. “I don’t think we’d have rock ‘n’ roll or pop music in any form without Africa. The roots of the music came from there.”

The impact of Herbie’s recordings with The Head Hunters Band changed the world of jazz by opening up the mindset of both jazz musicians and the listening public to the fact that music could have the power of communicating to a larger set of minds and voices yet retain its musical complexity, quality, and integrity. The band had a string of hits that have become part of the global vocabulary of musicians (“Chameleon,” “Actual Proof,” “Hang Up Your Hang Ups”) and raised the bar for production standards.

Head Hunters also had an important cultural impact on global society, starting with the Black community in the U.S. In the Sony Box Set liner notes, Belden wrote, “The impact of the recording started on Black College radio and campuses (particularly at Howard University in Washington, D.C.), and exploded all over the U.S., Japan, and Europe.”

“Chameleon”

The two most successful pieces on this album were “Watermelon Man” and “Chameleon.” Of the two, “Chameleon” was the longest lasting hit. It became one of the most beloved and revered pieces of jazz and jazz fusion music, and certainly of Hancock’s 60-year career.

The five-member band that produced Head Hunters comprised musicians who were all stellar in their own right. Some of them had been members of Hancock’s previous Mwandishi8 Band. They comprised:

keyboardist, producer, and composer Herbie Hancock (from Chicago) on ARP Odyssey and Minimoog Bass synthesizers and Fender Rhodes piano

reedist Bennie Maupin (from Detroit) on tenor and soprano saxophone bassist Paul Jackson (from Oakland) on electric bass and electric guitar drummer Harvey Mason (from Los Angeles) Afrocentric, multicultural percussionist Bill Summers (from New Orleans) on conga

6 Jeff Tamarkin, “Bob Belden—Musician, Producer, Arranger, Writer, Historian—Dies at 58: Heart attack claims multi-faceted jazzman,” Jazz Times, May 20, 2015, https://JazzTimes.com/features/tributes-and-obituaries/bob-belden-musician-producer-arranger-writer-historian-dies-at-58/.

7 Bob Belden, “Liner Notes,” The Complete Columbia Album Collection, 1972-1988, Sony Box Set, 2013, https://HerbieHancock.com/2017/01/08/essay-chameleon-the-life-and-music-of-herbie-hancock/.

8 Mwandishi is Hancock’s Swahili name. It means “Composer.”

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All five band members were credited with having composed “Chameleon.” This is not surprising, because the piece sounds like a collaboration of great minds.

My long-time friend Geoff Duncan,9 a professional studio session musician and audio producer, has been in the music business since the 1980s. When we met at Oberlin College, which is both a liberal arts college and a music conservatory, we bonded over talking shop about music and poring over guitar sheet notation. We spent hours discussing songs, artists, instruments, sounds, genres, and musical influences—and we occasionally jammed together.

Geoff has always been a big fan of Herbie Hancock. When gushing about the complex appeal of “Chameleon,” Geoff said, “It cast a really long shadow over musical culture. It grabs listeners with a powerful hook and takes them along for the ride.” We enthusiastically agreed that “Chameleon” was unique, innovative, ahead of its time—and it remains relevant to this day.

Note that because “Chameleon” is fully instrumental and does not have lyrics, it’s referred to as a piece rather than as a song. And this piece is looooong, clocking in at 15 minutes, 45 seconds. That’s roughly four times the length of an average pop song.10 Listening to it feels like taking an aural journey through a musical landscape of both danceable rhythm and strange but compelling grooves.

Musicality

The original version of “Chameleon” that appears on Head Hunters is divided into three sections, each with a distinctively different sound and feel:

1. Section A: funk 2. Section B (starting at 7:42): George Clintonesque Afrofuturistic psychedelic 3. Section C (starting at 12:03): jazz11

The entire piece sounds cohesive, because the instrumentalists transition seamlessly from one section to the next. Sometimes they cycle back again to the groove at the beginning, a technique that jazz musicians call “going back to the head.”

The specific elements of “Chameleon” progress throughout the piece according to this timeline:

9 More information about Geoff Duncan is available at Quibble.com.

10 Kelsey McKinney, “A hit song is usually 3 to 5 minutes long. Here’s why,” Vox, January 30, 2015, https://Vox.com/2014/8/18/6003271/why-are-songs-3-minutes-long.

11 Kit O’Toole, “Herbie Hancock’s ‘Chameleon’: The jazz pioneer impacted modern hip hop, R&B, and funk in this 1973 classic,” Blinded by Sound, August 22, 2017, https://BlindedBySound.com/features/deepsoul/deepsoul-herbie-hancock--/.

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time audio channel12 left

audio center audio channel right

0:00 Minimoog bass line

0:12 drum set 0:31 lead electric

guitar with wah pedal

0:51 “extremely clean” rhythm electric guitar with wah

pedal—or a clavinet13

1:29 tenor and soprano sax with synth following it (At this point, each part is distinctly different! Every instrument plays its own part, except for the two saxes.)

2:06 “clean”-sounding cymbal crash

2:53 instruments synchronize and the melody shifts

2:55 short sax riff 2:59 occasional bass

synth sound, like the sound of

shuffling a deck of cards—all

that’s heard is the filter

3:23 Tempo slows with horns drawn out. Bass synth sound with a slow decay, which sounds like a low-pitched wowwwww

3:28 drum fill with rack and floor toms

3:37 new bass riff 3:46 new electric

rhythm guitar riff

4:04 high-pitched keyboard synth

12 Paul White, “Making the Most of the Stereo Panorama: Mix Processing Techniques,” Sound on Sound, March 2009, https://SoundOnSound.com/techniques/making-most-stereo-panorama. 13 Geoff Duncan was stumped. If this wasn’t actually a clavinet, then Geoff was impressed by how clean the sound of this electric guitar was. He barely detected a guitar pick scratch.

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4:57 high-pitched keyboard synth reverberates

6:04 cymbal ride 7:05 beep-beep, boop-

boop synth sound original melody

alternates with high-pitched keyboard synth

7:28 complex drum fill 7:34 melody winds

down with synth drawn out

7:38 2-bar drum fill (no other instruments

7:42 SECTION B starts with the bass coming back in

8:00 wah-wah electric guitar

8:32 Fender Rhodes electric piano solo with ARP Odyssey strings underneath, electric bass guitar, and “busier” drumming (high-quality jazz vamp drumming, not a funk beat that emphasizes the One)

9:05 high-pitched synthetic string melody produced by the ARP Odyssey

10:28 little stabs of high-pitched synthetic flute sound produced by the ARP Odyssey

little stabs of high-pitched

synthetic flute sound produced

by the ARP Odyssey14

10:44 sustained supporting

chords of synthetic strings (ARP Odyssey)

11:36 shorter sustained supporting

14 Audio that sounds as though it’s simultaneously coming from extreme opposite directions is created by separate recordings. The channels don’t sound exactly the same, which means that the instruments were played separately. There two notes on each channel, which would typically mean that four tracks in total were recorded with two on each side—except in the case of the ARP Odyssey, which can produce two sounds simultaneously with each key depression, which would then only require two tracks.

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chords of synthetic strings (ARP Odyssey)

11:45 conga jumps out noticeably

11:52 “extended turnaround” (the tag on SECTION A)

12:03 SECTION C that’s related to both SECTIONS A and B. It’s structurally different from SECTION B, although drums are similar. SECTION C briefly shifts to 6/8 time signature.15 Herbie performs a solo on the Fender Rhodes electric piano.

13:16 2-bar drum fill (no other instruments)

13:20 “returns to the head” (SECTION A)

13:39 sax solo 15:15 fade out begins,

including on the grooving sax

Table 1: A timestamped analysis of “Chameleon.”

Hancock and his band mates played with tempo, dramatically yet barely noticeably. Referring to the start of Section C at 12:03, Geoff Duncan observed:

Notice the tempo is much faster now. It’s common for bands doing extended funk jams to wind up 20 BPM faster than their starting tempo. The tempo accelerates the whole way through, but the acceleration is unnoticeable. Fluid time like this is the mark of a good band. They’re not locked to a metronome.

The approximate tempo at the beginning of the piece is 90 BPM, which is slow even for funk! Toward the end, however, it gains about 30 BPM, clocking in at a pop song pace of 120 BPM.

Geoff also elaborated on the unusual harmonization in Section C:

Here the band is playing eight bars of a simple B-flat-to-D-flat chord change, establishing a busy groove under these changes. (The whole piece is in the key of D-flat major, which is B-flat minor.) Then they play another eight bars of big whole-measure chords. These are preplanned

15 Alain Rieder, “Rhythmic Modulations in Herbie Hancock’s ‘Chameleon’,” Time Manipulation Drum Blog, October 17, 2019, https://TimeManipulation.com/en/tmblog/?post=rhythmic-modulations-in-herbie-hancock-s-chameleon.

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chords, and the band alternates between the sets of eight bars, like a typical 32-bar A-A-B-A jazz structure.

Herbie relies on the band, particularly the bass player—which he himself might actually be, because the “bass” is the Minimoog synthesizer—to lay down the harmonic foundation. Then he goes into “orbit” while the other players maintain the melody.

He’s “Herbie-izing”—playing giant extended wishy-washy “Herbie chords.” Technically, it’s broadly extended harmony and substitution. These are major 7ths, 9ths, and even 11ths that sound like typical “smooth jazz” grooves. Herbie’s harmonic language is advanced, putting context on chords that can sound very fresh, unexpected, or “outside.”

How did Hancock develop his unique method of harmonization? It started by a quirky accident when he was playing with the jazz fusion pioneer Miles Davis. He thought he heard Miles Davis tell him not to play the “butter notes.” He didn’t know what that meant, so he started avoiding the principle defining notes of a chord and focusing almost exclusively on “color” tones.16

In a jazz piano context, this means omitting the root (because Hancock is a piano player), the fifth (because those are almost always dropped), and even the thirds and sevenths as well. For example, the chord Cmaj7 normally comprises the notes C, E, G, and B, ascending—but Hancock was playing none of those. While this is not unique (other players and composers have done very similar things), this technique changed Hancock’s approach to composing music and harmony.17

The kicker? What Miles Davis actually said was not to play the “bottom notes.” If Hancock had heard him correctly, the history of jazz fusion might have turned out very differently.

Influences and Cultural Impact

On the broad influence of Miles Davis, Hancock explained, “One of Miles’ greatest abilities was to be able to take a composition apart and take all the fat off of it, leave the lean, and leave a lot of room for improvisation. Like ‘Chameleon,’ there’s not a lot in there. There’s a lot of space.”18

“Chameleon” has been covered and reimagined by many musicians, including Hancock himself. Hancock later evolved the piece and performed many different versions of it. It was also covered by other musicians, like, for example, bassist Stanley Clarke, who was the inventor of the tenor bass.

The studio and label released a shorter version (of Section A) for commercial consumption. Most covers only include Section A—in fact, Section A is now considered both a jazz and a funk standard—although serious jazz students sometimes challenge themselves with Sections B and C as well. Accessible even to beginning players, “Chameleon” can be played in various styles, including bebop, blues, funk, and smooth jazz. As adaptable as the color-changing reptile itself, “Chameleon” has thus been embraced by the broad jazz community over the last several decades. One particularly delightful interpretation is Josh Cohen’s solo bass arrangement. Cohen simultaneously plays the bass

16 Herbie Hancock, “The Wisdom of Miles Davis” lecture, Norton Lectures, Mahindra Humanities Center, Harvard University, February 3, 2014, https://MahindraHumanities.fas.Harvard.edu/content/set-1-wisdom-miles-davis.

17 Conversation with Geoff Duncan, November 15, 2019.

18 Head Hunters, https://HerbieHancock.com/music/discography/album/673/.

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part and at least two of the lead parts on a six-string bass.19 This is the sort of “silliness” that often gets done with “Chameleon.”

Some of the many artists who covered “Chameleon” include:

Buddy Rich (a talented musician but apparently not a pleasant man) Maceo Parker, who’s played it for years Gov’t Mule (a bunch of white guys!) took a shot at it War Re-Birth Brass Band Jesse Fischer & Sly5thAve “looper kids” who would set up on street corners Herbie Hancock himself, who played with it and even sampled from it20

In addition to the myriad covers, there is also widespread sampling and borrowing. For example, Beck based the groove of his “Cellphone’s Dead” on “Chameleon.”21 At current count, there are at least 43 recorded songs that integrate samples of “Chameleon.”22 Notable songs with samples include:

“Greggery Peccary” by Frank Zappa (1978) “Mega-Mix” by Herbie Hancock (1983) “Underwater Rimes (Remix)” by Digital Underground (1988) “Can’t Do Nuttin’ for Ya Man (Dub Mixx)” by Public Enemy (1990) “No Vaseline (Original Version)” by Ice Cube (1991) “Words of Wisdom” by 2Pac (1991) “Kiss My Ass” by Busy Bee (1992) “Get Up Get Down” by Coolio, WC and 40 Thevz, featuring Malika, Shorty, and Ras Kass (1995)

If you listen to enough Herbie Hancock music, it comes as no surprise that his work is so widely covered, reworked, and sampled. Its mix of sounds from a wide range of genres and musical influences has provided raw material for audio creatives around the world. The music is both complex and accessible for many styles and forms: jazz, funk, fusion, rock, disco, hip hop, dance pop, EDM, trance, you name it. While his compositions and melodies are recognizable, the feel and textures are easily open to change. This changeability is chameleon-like, if you will. (Interestingly, many musicians observe this phenomenon only after they’ve played “Chameleon” a number of times.) In fact, Hancock was often asked whether he viewed himself as a chameleon, in terms of his musical adaptability. Diplomatically evading the question, he explained his open-minded approach to composition and performance:

19 Josh Cohen, “Herbie Hancock’s ‘Chameleon’—Solo Bass Arrangement by Josh Cohen,” themusicofjoshcohen, March 2, 2015, https://Youtube.com/watch?v=T90-aKvgnkE. 20 “Versions of ‘Chameleon’ by Herbie Hancock,” SecondHandSongs, https://SecondHandSongs.com/performance/8172. 21 Kit O’Toole, “Herbie Hancock’s ‘Chameleon’: The jazz pioneer impacted modern hip hop, R&B, and funk in this 1973 classic,” Blinded by Sound, August 22, 2017, https://BlindedBySound.com/features/deepsoul/deepsoul-herbie-hancock--/. 22 https://WhoSampled.com/Herbie-Hancock/Chameleon/sampled/.

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I always enjoy working with new forms, new idioms. I take them on as a learning experience, a challenge . . . . It’s just like learning to speak a few different languages. Someone might want to write a novel in French because French might be fitting for their concept of the novel. Or they might want to write in Spanish because of a certain concept they have. It’s the same type of thing. If you can use several means of expression, you can choose which one you want to use at any given moment. It’s not so much coming back to this or coming back to that, or leaving this or leaving that. It’s just that there are several choices available.23

Hancock also revealed the eclectic range of his own influences: “If you looked at my record collection, you would see everything from Bach and Beethoven to Parliament-Funkadelic and John Coltrane. Those are just the different types of music I like, and I might put on any one of those records at any time.”24 These are the origins of Hancock’s raw material. With regard to mixing genres in his own music, Hancock detailed his inspirations:

Two things. One was my own background living in Chicago, which is a blues town. When I was a kid, even though my parents would play classical music on the radio, they also played jazz records, and of course I heard R&B records, which were a part of my generation at that time growing up in the ‘40s. So that was my roots. . . . But also there was Sly Stone with “Thank You (Falettinme Be Mice Elf Agin)” and James Brown that I was listening to in the early ‘70s. At a certain point I felt the need to play music that was more tethered, something that was more earthy. It was certainly a new approach for me and I didn’t realize that I was carving out new territory.25

Instrumentation

The essential element that gives “Chameleon” its distinctive flavor is its instrumentation. Throughout his career, Hancock has experimented with state-of-the-art technology for composition, performance, and production. In fact, he set the bar for synth soloing. Many keyboardists have emulated him and tried to follow in his groundbreaking footsteps.26 At the time of Head Hunters, two ARP synthesizers27 proved useful in creating new and interesting sounds:

1. The Odyssey was often used as an accompaniment instrument to fill the space where an organ or orchestra might play. The original Odyssey had two oscillators, which meant that it could play two notes at once—a radical innovation. Most synths of this era were monophonic: they played only one note at a time.

2. The Soloist was perfectly named, as it excelled for soloing. Unlike the Odyssey, the Soloist’s single oscillator created a monophonic (one note at a time) sound—but these single notes really packed a punch. The knobs of the Soloist were immediately accessible for tweaking while playing live, which enabled the sound to cut through everything else.

23 Bob Kenselaar, “Herbie Hancock: The Chameleon Shows His Colors,” All About Jazz, March 6, 2012, https://AllAboutJazz.com/herbie-hancock-the-chameleon-shows-his-colors-herbie-hancock-by-bob-kenselaar.php.

24 Ibid.

25 Interview in Uncut, https://SongFacts.com/facts/herbie-hancock/chameleon.

26 Jerry Kovarsky, “The Art of Synth Soloing: Mr. Hands Himself, Herbie Hancock: Learn to play synth solos like Herbie Hancock,” Keyboard, published November 12, 2015, updated November 29, 2017.

27 Conversation with Geoff Duncan on December 8, 2019.

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Synthesizers at the time used ADSR (attack, decay, sustain, release) filters in combination with simple electronically generated waveforms to produce various sounds. The distinctive bow-bow-bow sound, for example, is produced by closing down the tone (removing its high frequency) at the end of the note. This closing down happens fast, on the attack, and it lasts no matter how long the note is held. The decay is also quick, and the sustain is low. In conjunction, this is what makes the note sound like bow. Because it happens quickly, this sound is designed only to be played staccato.28

As new and exciting as this was at the time, there were many limitations of synths that have since been overcome. For example, there were no synths that sounded like a guitar. Guitar effects came from stomp boxes such as the wah pedal. All the effects were analog, mostly inline before the amp, maybe with some reverb after.

What affects guitar sounds, in order of importance, are:

1. the amp 2. the player 3. everything else (guitar tones, strings, pedals)29

The exceptionally clean sounds of the bass and the wah guitar on “Chameleon” were produced by the illustrious bassist Paul Jackson. In fact, Jackson is the composer of the iconic twelve-note bass line.30 “Using the Afro-Cuban clave mixed with deep Funk anticipation,”31 this grooving bass line has become one of the most recognizable among musicians and listeners. Its repeating phrase is memorable, hummable, and danceable.

This is the music notation for the rhythm section of “Chameleon,” comprising synth bass and drums:

Figure 2 — musical transcription by Ethan Hein

28 Conversation with Geoff Duncan on December 8, 2019.

29 Conversation with Geoff Duncan on December 8, 2019.

30 “Jazz / Funk Bass Master,” Paul Jackson, the Headhunter, https://PaulJacksonBass.com.

31 Ibid.

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Because these twelve notes repeat, a creative way to visualize the notation is as a closed circle32:

Figure 3 — musical transcription by Ethan Hein

Conclusion

To fully appreciate the complexity of this piece, it’s important to understand each of these elements: the many genre influences, Hancock’s history, composition, harmonization, instrumentation, time signatures, and tempo changes. More could be gleaned and written, of course. Already, countless hours have been devoted to Herbie Hancock, and to “Chameleon” in particular, in terms of listening, performance, musical adaptation, written essays, lectures, and discussions.

“Chameleon” is undeniably a masterpiece and well worth listening to time and again. In fact, every time I listen to it, I hear something new that I hadn’t noticed previously; this piece of music is that rich and complex. It’s been a joy to listen to this piece with an active ear and to research, analyze, and discuss it. It retains a special place in my permanent listening repertoire, and I look forward to hearing it in later stages of my life.

32 Ethan Hein, “Deconstructing the bassline in Herbie Hancock’s ‘Chameleon’,” The Ethan Hein Blog, February 17, 2017, https://EthanHein.com/wp/2017/deconstructing-the-bassline-in-herbie-hancocks-chameleon/.