Herbie Hancock, Chameleon | Throwback Vibez

In the 178^th edition of Throwback Vibez (2025), we recollect and reflect on “Chameleon” by Herbie Hancock.

The vibes, the vibes, those Throwback Vibez! Throwback Vibez is a column that celebrates awesome songs from the past.  The records that grace this column are older, but that doesn’t necessarily mean they’re ancient – no fossils 🦴! All genres of music are welcome. In the 178^th edition of Throwback Vibez (2025), we recollect and reflect on “Chameleon” performed by Herbie Hancock.

Herbie Hancock (b. 1940) ranks among the greatest musicians of all time, regardless of genre. He’s the GOAT – nothing basic about that man! The exemplification of genius, Hancock is an award-winning, highly respected jazz visionary. His musical versatility is one of many reasons why he is so special, thriving in both acoustic, electronic, and more experimental realms. His electronic-centric fusion jazz on “Chameleon” marks one of the most iconic moments of an illustrious career. “Chameleon” is the prolific, nearly 16-minute opener from Hancock’s 1973 fusion-jazz masterpiece, Head Hunters. Hancock had some marvelous musicians assisting him on this project. Those Head Hunters were Bennie Maupin (b. 1940, saxophone and bass clarinet), Paul Jackson (1947 – 2021, bass), Harvey Mason (b. 1947, drums), and Bill Summers (b. 1948, percussion). Hancock, Jackson, Maupin, and Mason penned this beloved fusion juggernaut.

“Chameleon” is EPIC.  Perhaps that’s not the most poetic way to describe the record, but it is fitting. In the 21^st century, we might say that Herbie Hancock and company ATE!  What makes “Chameleon” a certified, timeless bop? The melodies and riffs are top-notch. The musicians performing are on another level – extraordinary and otherworldly! The bass line, performed by Hancock on an ARP Odyssey synthesizer, is one of the most striking ever laid down.  Continuous throughout the first half of the record, it not only provides a mean foundation, but it is truly a hypnotic, unforgettable earworm.  By the end of the record, it returns in all of its glory.  After setting the tone with the most famous bass line, the rhythmic melody is thrilling, including that distinct, bluesy, soulful tenor sax riff by Maupin. That man put some stank into it! The drumming is incredible, emulating the funk thriving outside of jazz at the time in the 1970s.  Beyond the core groove, the fills and runs are impressive to the nth degree. Jackson’s bass playing fills things up in the second half of the lengthy cut.  It’s simpler than the core bass line performed on the synthesizer, but it provides its own head-nodding bass goodness. Bill Summers’s percussion adds some extra spice, with the later prominence of conga.

Of course, the star of the show, Herbie, does Herbie things, serving up colorful keyboard patches and sounds. At times, his comping emulates a guitarist who is nowhere to be found on this track! Furthermore, the master serves up funked-up riffs and a heaping dose of prodigious musicianship.  That musicianship includes thought-provoking solos, which don’t rely on acoustic piano/acoustic piano patches.  His synthesizer playing synthesizes hard, baby, with some captivating, compelling, innovative, and noisy sounds. There is also the refined electric piano (Rhodes) that dominates the second half.  The sound palette is incredibly rich and fulfilling from a quintet of musicians. “Chameleon” could be analyzed even further, given the lofty music theory behind it (Fabulous use of Dorian mode and a two-chord vamp) and timbral contrast.  But, as with any musical masterpiece, it is best enjoyed by listening and soaking it all in, like a sponge.