When one runs down even a short list of keyboardist Herbie Hancock’s accomplishments, it’s hard to believe that one individual could be at the helm of so many stylistic changes and pivotal moments in the past half-century of jazz.
Actually, he’s been so vital for so long that it’s easy to take what he does and the level of commitment he brings to music for granted.
So here’s the short version of Hancock’s long and prosperous story. He took up the piano at the age of 7 and was performing with his hometown Chicago Symphony when he was 11. Attracted by the excitement of jazz, he released his debut as a leader for Blue Note at 22 and soon had his own roster of durable compositions, including “Watermelon Man” and “Cantaloupe Island,” which you may not know by name but it would instantly register if you heard it.
“Discovered” by trumpeter Miles Davis in the second half of the ’60s, Hancock served in Davis’ Second Great Quintet, as it’s now known, pushing the leader to his creative pinnacle, especially for those who don’t care for his electric stuff. Speaking of electric, Hancock’s affection for gadgetry led him to synthesizers, and he released what is probably the most successful fusion album of all time, “Headhunters,” in 1973, which featured the track “Chameleon,” an electric funk anthem loaded with Hancock’s array of futuristic keyboards and a solo that sounds like a deranged seagull attack at the 5:30 mark (go back and listen if you don’t believe me).
By the ’80s, his experiments with rhythms of the day landed him in heavy rotation on MTV, thanks in part to the jerking mannequins in the “Rockit” video, which also displayed Hancock’s likeness on a video monitor, making him one of the first African-American artists to break through on that network.
There are numerous other highlights and collaborations. Most recently he found himself on the unlikely soundscape of the AAA radio format with “Stitched Up,” including vocals from pop star John Mayer. Hancock’s solo at the end of the song references “‘Round Midnight,” which means he adds getting a Thelonious Monk melody on 21st century rock radio to his list of achievements.
“I didn’t even realize that,” Hancock told The Denver Post. “I’ll have to go back and listen to that again.”
Hancock, whose band (with special guests) headlines opening night at the June Festival of Jazz Aspen Snowmass on Thursday, isn’t known for looking (or listening) back on his career as much as he pushes ahead. And that’s what makes this concert different from one of his usual quartet gigs: He’s planning a retrospective of sorts.
“We’ll play music from ‘Maiden Voyage’ in the mid-’60s, and ‘Watermelon Man’ and ‘Chameleon’ from the Headhunters, and music from ‘Possibilities’ (Hancock’s latest),” he said. “In a way, we’ll be flying by the seat of our pants.”
That’s because most of the guests lined up for the concert, including singer/songwriter Keb’ Mo’, trumpeter Terrence Blanchard and guitarist Larry Carlton, have performed with Hancock sporadically, and some only once before, at last year’s Sonoma Jazz Festival in California.
“I do like being out of my comfort zone,” he said when asked about these one- (or two-) off collaborations. “It’s challenging, and this is a special show.”
Those making the trip to Aspen for the crowd-pleasing aspect of Hancock’s multifaceted work should be pleased, but there’s also something new that showcases his more challenging side to listen to on the way to the show. It’s a disc that features some deep and beautiful acoustic and electric piano from Hancock, and it’s not even under his own name, but that of saxophonist Michael Brecker, who succumbed to cancer earlier this year.
“Pilgrimage” serves as the final release from Brecker, who asked friends like guitarist Pat Metheny, drummer Jack DeJohnette and bassist John Patitucci to join him in the studio. (Hancock plays on half of the disc’s tracks; Brad Mehldau takes to the piano chair for the other half, and Hancock offered up nothing but praise for the younger keyboardist’s contributions.)
“It was a glorious occasion,” Hancock said enthusiastically about the session for “Pilgrimage.” “We were so overjoyed to be there. Michael had been so sick, but at that time he didn’t look sick at all. The color was back in his skin. He was smiling a lot, and his playing was unbelievable.”
“I had no idea it would be the last time (in the studio together). Everybody wanted to do their very best. There was so much life and vitality and meaning to what he did.”
At 67, Hancock is an inexhaustible elder statesman for jazz and numerous hybrids. Has there ever been an experiment he’s undertaken that simply didn’t work and had to be abandoned?
“As a matter of fact, I attempted to do a kind of funky record in the mid ’60s, but it fell far short,” he said. “I just didn’t know what I was doing. This was when I was on Blue Note. We all agreed that it wasn’t going to come out.”
Bret Saunders writes about jazz for The Denver Post. Saunders is host of the “KBCO Morning Show,” 5:30-10 a.m. weekdays at 97.3-FM. His e-mail address is Bret Saunders bret_saunders@hotmail.com
Jazz Aspen Snowmass
The festival kicks off Thursday and runs through Sunday. Here are the details:
THURSDAY|Herbie Hancock and Friends, with Terrence Blanchard, Larry Carlton, Raul Midon, Cyro Baptist and Keb’ Mo’, 9 p.m.; Madeleine Peyroux opens, 7 p.m.
FRIDAY|Earth, Wind & Fire
SATURDAY|Steve Winwood and Angelique Kidjo
SUNDAY|The Black Crowes and Marcus Miller
INFORMATION AND TICKETS| All performances in Rio Grande Park in downtown Aspen; individual tickets for Thursday, $35-$75; Friday-Sunday shows, $45-85; four-day passes, $168-$312; call 1-866-5278499 or go to
