Released in 1975, "Man-Child" is one of Herbie Hancock's most funk-influenced albums. It was produced by David Rubinson and Herbie Hancock, and was the final album featuring the core group of the Headhunters (Paul Jackson, Bill Summers, Harvey Mason, Bennie Maupin, and Mike Clark).

Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes – but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes.

Originally released only in Japan, "Flood" is a classic jazz/funk album. Herbie Hancock's eighteenth album features songs from previous albums "Thrust", "Head Hunters", and "Man-Child".

Released in 1994, "Dis Is da Drum" is Herbie Hancock's 39th studio album and his first solo album after leaving Columbia Records. Tracks like "Bo Ba Be Da" and "Dis Is da Drum" reflect Hancock's move towards acid jazz, while "Butterfly" makes a fourth appearance on a Hancock album following the original album (Thrust), a live album (Flood), and another studio album (Direct Step).

Nefertiti is a studio album by American jazz musician Miles Davis, released in March 1968. Recorded on June 7, June 22–23 and July 19, 1967, at Columbia's 30th Street Studio, the album was Davis' last fully acoustic album. Davis himself did not contribute any compositions, which were mostly written by Herbie Hancock and Wayne Shorter.

"The Turnaround!" is jazz tenor saxophonist Hank Mobley's 1965 Blue Note release. The hard bop, soul jazz instrumentalist and composer collaborated with some of the '60s most proficient jazz musicians on this release, including Herbie Hancock, Philly Joe Jones, Paul Chambers, Freddie Hubbard and Donald Byrd, among others.

Herbie Hancock’s 40-year career as a recording artist is graced by a series of astonishing musical landmarks. Few other musicians of the 20th century have exhibited the wide range of interests and mastery of various genres that this jazz legend has brought to his remarkable body of work. Nonetheless, at the age of 58, Hancock still expresses the kinds of irrepressible curiosity and restless creativity that keep him pushing at the boundaries of modern music. This album features several prominent musicians including Joni Mitchell, Chick Corea, Stevie Wonder, Wayne Shorter, and the Orpheus Chamber Orchestra.

Originally released only in Japan, Flood is a classic jazz/funk album. Herbie Hancock's eighteenth album features songs from previous albums Thrust, Head Hunters, and Man-Child.

At 21, Herbie Hancock was already a mature and well-traveled musician. He played Mozart with the Chicago Symphony at age 11, studied at Grinnell College and by age 20 played with Donald Byrd. Takin' Off, his Blue Note debut, is a sophisticated showcase for Hancock's ability as a group leader. Not as intellectually challenging or technically complex as his later recordings, the pianist nevertheless displays a restless imagination and technical verve.

Herbie Hancock was only 23 when he recorded the amazing "Inventions & Dimensions", his third Blue Note album. Although Hancock had already recorded "Takin' Off" and "My Point Of View", he had quickly developed his own innovative style, and was about to become a member of the Miles Davis Quintet. "Inventions and Dimensions" is unlike anything he had previously created.

"Sextant" is Herbie Hancock’s 1973 masterpiece. The recording is his final album with his Mwandishi Band. The musicians perform a brilliant set that includes the standouts, “Rain Dance,” “Hidden Shadows” and “Hornets”. The compositions are complex and rhythmically challenging. This electric, fusion-based work reached #3 on Billboard’s Top Jazz albums.

"Future Shock" is pianist Herbie Hancock's thirty-fifth album and a million-selling Platinum-certified disc. It was Hancock's first release from his electro-funk era and an early example of instrumental hip hop. Much of the album was initially composed by the team of avant-garde bassist and record producer Bill Laswell, and keyboardist and producer Michael Beinhorn, and played on tour by their group Material in 1982.