Legendary keyboardist, composer, and jazz innovator Herbie Hancock’s ever-evolving relationship with the Hollywood Bowl extends back 61 years to his first appearance as a member of the Miles Davis Second Great Quintet, which performed there September 4, 1964 as part of the Modern Sounds ’64 concert series on an bill with the Gerry Mulligan Quartet (with Chet Baker), the João Gilberto Quartet, and the Nina Simone Quartet. The Davis ensemble’s first performance at the Bowl is traditionally said to have cemented the group’s reputation and helped reshape jazz in the mid '60s. The historic night was also notable for Wayne Shorter’s debut with the quintet, the beginning of an association that would last six years.
Leading his own celebrated quintet, Hancock had the late saxophonist top of mind when he performed a fiery, richly improvisational, often trippy/spacey and wildly surreal set at the Bowl in August. He brought his former colleague and decades-long collaborator into the conversation immediately by bringing onstage and introducing Shorter’s young (and somewhat shy) grandson to the appreciative crowd. Naturally, Shorter’s standard “Footprints”—first commercially released on Davis’ Miles Smiles album in 1966—was the emotional centerpiece of the set, highlighted by the easy, soulful vibing of bassist James Genus and drummer Jaylen Petinaud and featuring the sly, emotionally compelling interplay of Hancock and trumpet great Terence Blanchard as well as some of Hancock’s most graceful solo piano mysticism, followed by more swinging improvisations. Listening to Hancock and Blanchard, it was easy to imagine what that classic interaction with Davis must have sounded like back in the day.
The rest of the freewheeling two hour set offered a colorful, supremely adventurous polyrhythmic jaunt through Hancock’s vast catalogue, including two expansive gems from his 1974 Thrust album, the funk fusion jam“ Actual Proof,” and the classic “Butterfly,” a mood swinging piece long celebrated for its melodic complexity which begins as a haunting ballad (with an instantly recognizable keyboard motif) before spreading its wings and taking flight on a whimsical, exuberant ride—this time highlighted by some of Hancock’s most dazzling improvisational piano imaginings. One of the more unusual highlights of the show was Hancock’s spiritual/socially conscious melodic speechifying about hoping for better days, talk/sung melodically through a synthesized filter.
For all the grand artistry and spirited solo action that came before, the true highlight of Hancock’s performance came when he got up from his piano and adjacent array of keyboards, grabbed his portable Roland AX series keytar and romped gleefully with the guys on a hypnotic closing medley of “Hang Up Your Hangups,” “Spider,” and the always irresistible No. 1 Billboard Dance hit “Rockit.” What a joy to watch not only those close ups of his frenetic finger work on the video screens, but also the ageless keyboardist’s spirited, bouncy dancing with Genus midway through the jam. Hancock and the Bowl go back a long way, and based on the intense energy of this show, it’s a good bet the relationship will continue for some years to come!
Photo credits: Elizabeth Asher, courtesy of the LA Phil.
