The interesting thing about that 1973 Headhunters album is that it is a shining example of the kind of electronic diversions jazz musicians were making around the end of the 60s and early 70s. Indeed they were forced into doing so in the face of competition from electrified rock (and roll) artists crowding into the market and stealing their audiences and sales figures throughout the 50s and 60s. In short, jazz music was suffering and had to go electric to compete. A similar instrumental migration can be seen in blues music too.
Whilst electronic instruments, such as the Theremin and Telharmonium, had been around since the early 20th century, and electronic musicians such as Sun Ra and Stockhausen had been doodling in the avant garde field since the 40s, such instrumentation did not really hit the mainstream until the 50s. The early mainstream proponents of electrified instrumentation were the rock and roll artists of the 50s. And we all know how popular rock and roll was.
In the face of all this jazz musicians like Miles Davis and Herbie Hancock decided to take on synthesisers, electronic guitars and other such instruments into their bands. And it wasn't just in a spirit of competition, they were genuinely excited about the possibilities that instruments like the Moog and Hammond organ offered.
The Headhunters group was Herbie's response to dwindling audiences and record sales, especially after some dismal European tours. It was also an extension and popularisation of the lessons Bennie Maupin (clarinet, sax and flute) had learned with Miles Davis on albums like B!tches Brew.
The Headhunters album (not group) wasn't the first such branching off into electroland. Herbie had produced other electronic albums, such as Mwandishi, Crossings and Sextant, before it came out. These were however much like B!tches Brew in that they were considered 'difficult listening' and hence were largely inaccessible to mainstream listeners. But Headhunters the album was definitely the one that crossed over and gained popular appeal, one thing that jazz desperately needed to do. It remains one of the highest selling jazz albums ever. Those wily chameleons!
