Sydney Opera House, June 10th 2019
Herbie Hancock has been playing jazz onstage for nearly sixty years and even though this was his second show of the day in the Opera House’s Concert Hall, the septuagenarian seemed to have boundless energy as he took the audience through a spellbinding two hours of jazz fusion.
Hancock has always been one to evolve with the times and branch out from traditional be-bop jazz into soul, funk, classical and more. Tonight he was still sounding like he was channeling the future with a lineup of Lionel Loueke (electric guitar), James Genus (electric bass) and Vinnie Colaiuta (drums) and himself on piano, synth and keytar. At one point he introduced a song as one he wrote in the ‘70s and as the audience cheered he added – “2070, I’m ahead of my time!”.
The focus of the set was firmly on songs he wrote as technology was changing and electronic music was becoming established and often taking the lead in jazz, funk and soul music. Actual Proof was a real highlight. Hard funk and ridiculously virtuosic soloing from the band, especially Colaiuta on drums. What made the band so impressive was their ability to work as a cohesive, fluid and rhythm-based unit and then pull things back to spotlight individual solos that never outstayed their welcome. These were some of the finest players in the world yet there was very little ego emanating from the stage. Hancock was flashing grins and kicking out his leg from beneath the piano, clearly revelling in the musical interaction with his band. As he introduced them he seemed genuinely and humbly in awe of their talents.
Hancock himself divided his time between his various instruments, pacing himself before going deep on a solo, notes near flying off the keys in a blur of fingers, whether it was light, dancing runs or heavy, slamming chordal accents. He remains a dazzling and inventive player, still taking his music to thrilling and otherworldly places. For the most part the set was upbeat and constantly in motion. A comparatively quieter moment came with the soulful Come Running To Me featuring Hancock’s synth-manipulated vocal adding yet another element to their sound.
Late set highlights came in the form of two of his masterpieces and most recognisable compositions in Cantaloupe Island, recorded in 1964, and the closing future funk encore of Chameleon, from his 1974 album Head Hunters. Hancock took centre-stage with his keytar, swapping solos with Loueke and at the age of 79, leaving the stage with an airborne jump to signal the final note as the audience rose to their feet in unison.
This was no artist playing it safe at the tail-end of his career, this was a celebratory night of music and creative spirit par excellence, from a true innovator and legend of modern music.