There’s never any shortage of anniversaries in music. This year marks sixty years since the release of Bob Dylan‘s self-titled debut album, and it’s quite likely the release of The Beatles‘ debut single ‘Love Me Do‘ will be receiving much coverage later on this year. More pertinent to this review, it’s also sixty years since the then 22 year-old Herbie Hancock released his solo debut album Takin’ Off for the highly-regarded jazz label Blue Note. In the decades since he has never stopped making music and exploring different genres, as well as writing a number of pieces that have become standards, highly regarded even by many of those who think they don’t like jazz.
Edinburgh’s Playhouse theatre is absolutely packed for Hancock’s debut at the Edinburgh International Festival (who, it must be said, have really upped their game on contemporary music over the last few years). It’s so cramped that at some points I’m left wondering how on earth I’m going to be able to take any notes on the performance at all. But what takes place over the two hours means that that doesn’t really matter at all. There’s a wide age spread here, from primary school age children to many who I think it’s safe to assume have reached retirement. Hancock comes on to rapturous applause from the audience, modestly telling us “I’m glad to be on this stage to play for you.” From my seat in the stalls, he moves with ease and is spritely in a way that would impress those twenty years younger.
Tonight is not, it should be said, a greatest hits show (and he has had bona fide chart hits here and the US in both singles and album charts), yet it does not matter. He may be modest but it’s not overstating the case to say that we are in the presence of a legend. He opens with what he calls an overture, made up of pieces that he has played. He’s not the kind of performer who wants to ape what’s on record – there are radical reworkings but the way he and his band move from hard-bop to beautifully atmospheric jazz and onwards from there is truly something to witness. A riff emerges that sounds familiar – it’s the motif from ‘Rockit‘ – the track that is probably his best known thanks to its innovative 80’s video, but it’s played on guitar by the amazing Lionel Loueke. Then we’re off again…
The three-piece band who accompany him are fantastic, and don’t let anyone get away with making you think that being a virtuoso is something bad. As well as Mr Loueke, the rhythm section of drummer Justin Tyson and bassist James Genus are all spectacularly tight. I don’t know how well rehearsed they are, but this feels organic as anything and that they are of one mind. Hancock introduces the band and he’s clearly respectful of their musicianship. He also pays tribute to one of his best friends, Wayne Shorter, who will be 89 later this month, by giving us an amazing arrangement of Shorter’s piece ‘Footprints.’
This is a concert of many highlights but three stand out particularly for me: ‘Actual Proof’ (originally on 1974’s Thrust) which remind us just how funky he can be and the vocoder-driven ‘Come Running To Me.’ Yet most fantastic of all is is the stunning rendition of ‘Cantaloupe Island.’ Much longer than the 1964 original – but it never feels self-indulgent.
A brilliant evening from a man and his band who transcend many boundaries. See him if you get the opportunity.
Photo credit: Jess Shurte
