On the CD, producer Bill Laswell situated Hancock in the Electro-Hiphop-Ambient-Techno dancefloor environment that he foreshadowed thirty years ago on such albums as Sextant - specifically the piece “Nobu,” built on scratch-like beats - and Dedication, and that he helped to launch in the ‘80s on Future Shock and Perfect Machine. “We committed ourselves to Future-2-Future from an artist development point of view, going on the road and playing smaller clubs to younger audiences, almost as if Herbie was a new artist,” explains his manager, David Passick. Much of the repertoire comprises Hancock’s arrangements of material from his self-released studio CD, Future-2-Future, refined over the band’s 50 or so dates during 2001-02. On the encore, a balls-out “Chameleon,” he comps wickedly under an inspired Kurzweil solo by Darrell Diaz, then takes a thematic counterstatement on the Korg and an orchestral variation on acoustic piano. He presents 21st century versions of “Hornets,” a Techno epic originally recorded in 1973 by the groove-based experimental coop Mwandishi on the aforementioned Sextant, and “Butterfly,” a soulful melody from Hancock’s late ’70s fusion period. He creates a completely reconfigured 20-minute suite of “Dolphin Dance,” originally recorded in 1965 on Maiden Voyage, and one of several dozen Hancock compositions that stand among the sublime achievements of late 20th century jazz. Disk,” a call-and-response with the turntablist, Hancock uncorks a solo that evokes Inventions and Dimensions, his 1963 encounter with bassist Paul Chambers and two Afro-Latin percussionists. Through the ebb and flow of the remaining 90 minutes of Future-2-Future Live, Hancock improvises through his entire timeline, bouncing off the ensemble to navigate seamlessly through electronic and acoustic environments with a holistic sensibility that he has not displayed on previous recordings. Carrington’s sampled chant is a break chorus that paves the way for trumpeter Wallace Roney, who bobs and weaves through the rhythm with long combinations that sum up the harmonic material, not stopping until Hancock returns to the Korg with a declarative chord that winds up the piece. Hancock shifts, sits at the acoustic piano, states the melody of “Kebero,” and launches a pithy, majestic solo, constantly developing the theme and sustaining a complex rhythmic dialogue with his drummer, deploying a precisely calibrated array of attacks to treat the piano simultaneously as both an orchestral harmonic instrument and a drum. Wisdom is the key to understanding the age, creating the time.”Ĭoncluding the invocation, from a text by his spiritual guide, Daiseku Ikeda, Hancock sustains the tone poem, setting up a Carrington chant, which is sampled polyphonically and to which she creates a complementary drumbeat on her electronic pads. By contrast, wisdom captivates people’s hearts and has the power to open a new age. While knowledge may provide a useful point of reference, it cannot become a force to guide the future. “It is…” - he smiles, and sweeps his left hand across the keyboard - “…technology.” He pauses, cues an oscillating wash of sound, and continues, stretching out the words: “Wisdom is the future. “Simply put, knowledge is the past,” he says in a calm, deliberate voice. Then Hancock takes the microphone in his right hand. Disk interpolates whispery swatches of color, keyboardist Darrell Diaz plucks soft chords, drummer Teri Lyne Carrington elicits rubato, bell-like beats from her cymbals. Against a backdrop of swirling rave images, bassist Matthew Garrison bows complementary tones, D.J.
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Hancock bows, addresses a Korg Karma Roland MK-80 keyboard plugged into an Apple PowerBook computer, and triggers a series of ascending and descending swoops of varying duration. The opening sequence of Herbie Hancock’s new DVD, Future-2-Future, Live, follows Hancock, elegantly casual in a custom-tailored black suit, as he enters stage left at the Los Angeles Knitting Factory. I would say that’s a badge of honor for jazz.” Jazz musicians have the flexibility to be able to move around freely in other genres. For the occasion, I’m posting the “director’s cut” of a DownBeat cover piece I had the opportunity to write about HH in 2003, and the proceedings of an interview he did with me on the occasion of the publication of Breaking The Rules for the Barnes & Noble Review ‘zine, in which he states: “Jazz is really a foundational music.
Readers of this blog need no introduction to Herbie Hancock, who turns 77 today.
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