Herbie Mann trades his band for a string section and finds a surprisingly warm middle ground.
The Herbie Mann String Album was released in 1967 on Atlantic, a label that gave Mann room to experiment well beyond the hard bop and Latin-tinged grooves that had made his name. Here he sets his flute against a string section and a small rhythm and horn ensemble, a configuration that asks the leader to sound more like a singer than a soloist. The session personnel included Richard Davis on bass, Mel Lewis on drums, Ray Barretto and Orestes Vilató on percussion, and a long roster of classical players, among them Alfred Brown, Karen Tuttle, and Aaron Rosand on strings, so the room was full of people trained to read charts precisely, which shaped the whole record.
What you hear is Mann leaning into melody. The arrangements keep the strings sweet and the rhythm section light, and the flute gets to float over the top rather than cut through a riff. It is not a jazz record in the usual sense of pushing harder and harder, and some listeners will find it too smooth. Those who like Mann's lyrical side will find plenty to enjoy, especially in the slower pieces where the strings and flute blend without much friction.
For a listener starting with Mann, this is not the place to begin; try Herbie Mann at the Village Gate (1961) first to hear him swinging in a small group. This album works better as a side trip for fans who already know his playing and want to hear him in a different setting. It is a pleasant, well-made curiosity rather than a peak of his career.