<DIV><DIV><DIV>". . . [a] very readable dissection of all the different ways in which Herbie Hancock's 1973 album <I>Head Hunters</I> broke the mould. . . . An entertaining and thought-provoking read."<BR>---<I>Jazzwise Magazine</I></DIV><DIV> </DIV><DIV>"An important and timely book. Pond's work reflects the insight an informed researcher and skilled performer can bring to the study of music."<BR>---Travis Jackson, Associate Professor of American Music, University of Chicago</DIV><DIV> </DIV></DIV></DIV><DIV>Winner of the U.S. chapter of the International Association for the Study of Popular Music's Woody Guthrie Award for most distinguished work on popular music.</div><DIV> </DIV><DIV>Steven Pond's <I>Head Hunters</I> captures a transitional moment in modern music history, a time when jazz and rock intermingled to create a new, often controversial, genre. At the forefront of that style was <I>Head Hunters</I>, Herbie Hancock's foray into the fusion jazz market.</div><DIV> </DIV><DIV>The album became a turning point for a radical shift in both the production and reception of jazz. It was the best-selling jazz record of all time to that point, and the music industry quickly responded to the expanded market, with production and promotion budgets rising tenfold. Such a shift helped musicians pry open the control-booth door, permanently enlarging their role in production. But critics, believing that rock and funk might be appropriating jazz to new musical ends---or more ominously, for commercial reasons---grew increasingly alarmed at what they saw as the beginning of the end of jazz.</div><DIV> </DIV><DIV>Steven F. Pond is Associate Professor of music at Cornell University. He will become Editor-in-Chief for the journal <I>Jazz Perspectives</I> in 2011.</DIV>