*I have to hand it to Herbie Hancock. He turned what has been promoted for months as a 50th-anniversary reunion of the band that recorded the seminal 1973 Jazz-Funk Fusion LP, Head Hunters (also the name of the band itself) and turned it instead into a profoundly revealing 2-part “That Was Then, This Is Now” expository. There is no place this music lover would have rather been than under the stars on Wednesday, August 14 at the Hollywood Bowl.
First, a bit of history. Prior to Head Hunters, Hancock spent the `60s enjoying an enviable career recording as a leader for Blue Note Records, recording and touring as the pianist on Miles Davis’ “Second Great Quintet” (with saxophonist Wayne Shorter, drummer Tony Williams, and bassist Ron Carter), recorded as a session musician on several key LPs for CTI Records and, through it all, composed at least three major “hit” songs including “Maiden Voyage” (first heard by many under a commercial for cologne), “Watermelon Man” (made famous by Cuban conguero Mongo Santamaria) and “Cantaloupe Island.” The latter two classics were grade-A examples – like much of Horace Silver’s work – of Jazz with a ‘funky’ soulful swing to it. At the end of the `60s, Hancock recorded the album Fat Albert Rotunda (initially as the score for the first ill attempt at a cartoon surrounding Black youth characters created by comedian Bill Cosby). For that critical 1969 time in Black American history, 5 of the 7 tracks for Hancock’s score (especially Side 1’s “Wiggle Waggle,” “Fat Mama” and “Oh! Oh! Here He Comes”) were a righteous melding of funky jazz.
However, from 1970-1972, Hancock explored an expansive and deeply cerebral set of music under the name Mwandishi that took Jazz on a journey back through Africa and into outer (and inner) space. While critically and culturally acclaimed, this music had little to no bearing on what was accessible and ass-shaking on Black radio and then-up-and-coming “Soul Train” (the latter emanating out of his hometown of Chicago). Hancock has stated that he had grown disappointed by people proudly displaying his albums on coffee tables and wall mantles but not really listening to or incorporating them into their daily lives.
Hancock’s remedy for this was Head Hunters, recorded in San Francisco circa `73 with drummer Harvey Mason, bassist Paul Jackson, percussionist Bill Summers and saxophonist/flautist Bennie Maupin (the sole holdover from the Mwandishi band). In the three years leading up to that time, music had gone from being “funky” to being straight-up Funk, thanks to James Brown, Sly Stone, and bands like Ohio Players, WAR, and Kool & The Gang – the latter of which had some Jazz in their DNA as well. With his new crew and his restless spirit, Hancock had the vision, ability, and support to create music with serious uncut Funk roots, unimpeachable jazz improvisation, plus a keen use of synthesizers and electric keyboards, making it all a mentally inebriating and body-liberating natural high.
The breakout song from Head Hunters was “Chameleon” which took its name from the way the music shifted within a 3-part suite. On the album, this piece – with songwriting credited, in order, to Jackson, Mason, Maupin, and Hancock) – clocked in at 15:41. Even hardcore Jazz radio stations balked at this though some made room for it as is, created in-house Pt. 1 & Pt. 2 edits, or dayparted it into the wee hours. The masterstroke was a slightly sped-up and brilliantly Ginsu-edited 2:50 single version that was created and released early the following year in `74. THIS version got the song all over the radio on progressive FM and AM stations, Jazz stations, and R&B stations PLUS the highly coveted “Soul Train” TV show. This 45 single laser-focused on Hancock’s low-end bass line and high-end solo (both played on synthesizers), Mason’s catchy military funk drum breaks, and the irresistible overall groove…with a taste of Maupin’s tenor solo out the back door.
Nothing short of revolutionary, the 4-song Head Hunters eventually became that rare Jazz album to sell over a million copies, propelled by the hit “Chameleon” and the hypnotic, state-of-the-art appeal of the album’s remaining three songs: a slinky new arrangement of “Watermelon Man” (arranged by Mason and featuring Summers conjuring jungle calls via a beer bottle), “Sly” (another multi-part suite of slippery syncopation dedicated to Sly Stone) and “Vein Melter” (a spacey Creeping Charlie of a headphones headpiece oozing in vibe). Hancock embarked on a successful international tour with this band with all members except for drummer Mason who opted to remain in L.A. to retain his A-list slot as a first-call session musician). Upon this time, Bay Area Funk-Jazz drummer Mike Clark was brought into the fold for the tour, Hancock’s follow-up album, Thrust, plus several albums across the decades under the band, Headhunters.
Which brings us to August 2024 with Hancock reuniting all the Head Hunters recording’s original contributors, with the exception of bassist Paul Jackson, who passed away in March 2021. Ably filling his shoes this evening is the stalwart Marcus Miller. Additionally, Julian Pollard played synths and second keys to cover the layers of sound Hancock achieved via overdubbing on the album.
Befitting the historical occasion of this event, the NBA’s all-time greatest Jazz fan, Kareem Abdul Jabaar, was given the honor to say a few words and introduce the players to the stage. After very specifically namechecking Hancock’s 1964 album Empyrean Isles (likely a favorite), Jabaar credited his friend with ushering in, “a whole new dimension in Jazz combining traditional with Funk.” Not sure whose fault it was that the names of the players and what instrument they played were flubbed by Jabaar, who was reading from written notes… However, every musician showed utmost respect to him as they walked on – if for no other reason than their name was being spoken by a towering giant of basketball mythology.
The music got underway with percussionist Bill Summers welcoming everyone with an invocation in an African language and English, blessing the ancestors of all present and calling for a shared experience of joy this evening. Naturally, his use here of his famous beer bottle chant led into “Watermelon Man,” a culturally correct beginning. Mason and Miller locked the groove. Maupin’s first solo of the night on soprano sax was dripping with signature cool but was unfortunately flat for an extended period. Hancock’s first Rhodes solo was affirmatively chill.
Next, the group tackled its most intricate number, “Sly,” with a little trouble in the swift mood-shifting ensemble lines. However, this time, Maupin’s soprano was on point and spiked with fire for the magic carpet ride that followed. Miller walked a precision tightrope of playing the piece in his own style yet with clear references to the late Paul Jackson’s emphatically melodic counterstatements. Mason, a.k.a. “The Mase,” nailed the groove and tempo changes like a champ. Hancock’s hands danced delightedly over the keys, never breaking a sweat. And young L.A.-based saxophonist Devin Daniels held his own with a reserved solo.
As on the Head Hunters album, “Sly” segued into “Vein Melter” with some spooky heartbeat FX and a meditative turn from Maupin on bass clarinet. As a song Hancock rarely ever plays, this writer was really looking forward to this one being stretched out and accentuated by special lighting or something. However, they played an abbreviated version as an all-too-short palate-cleanser highlighted by Hanock’s solo supported by Julian Pollard’s spot on accurate recreations of the warm, eerie synthesizer patches.
Wishfully anticipated sweet surprises of the evening arrived next when two songs from the Head Hunters’ follow-up LP, Thrust, were included in the set. First up was the funky “Palm Grease.” Mason approached Mike Clark’s drum pattern without the stop-start anticipation at the end of every second bar, instead playing straight through the two-bar phrase, swingin’ more than funkin’, ultimately, switching up the groove. More successful was the blissfully sexy and atmospheric “Butterfly” on which Maupin generously allowed Marcus Miller to play the sacred bass clarinet part, eliciting a round of applause from all in the house that were knowing. The band explored this mellow number in a bit more depth than “Vein Melter” and Miller was back in place on bass for the song’s second section to play Jackson’s circular and peppery line. More props to Maupin, Hancock, and Pollard for colors, textures, and taste.
Finally, the first set of the night concluded with the highly anticipated “Chameleon” with Hancock getting up from his piano bench, strapping on his world-famous “Keytar” (a portable keyboard that allows him to prowl the stage like a rock star panther). Again, this writer envisioned something that didn’t happen. I wanted to see Herbie play that bass par on the keytar standing next to Miller playing the guitar-like counter melody on bass so the audience could VISUALIZE how ingenious this vintage Funk classic is. But no matter. The audience was slippin’ and dippin’ in the palm grease of everyone in the band’s hands for section 1, including some playful yet purposed jousting between Hancock in Hendrix mode and 25-year-old Daniels on sax. “Take that,” Hancock seemed to say musically as he pounced on Daniels with a series of fast and furious runs. The intoxicating second section of “Chameleon,” led in by Miller exquisitely locking into the famous bass line, was slightly marred by an energy drop from behind the drum kit as Mason concentrated more on hitting all the punches instead of nailing them like Muhammad Ali might have attacked them if he were a drummer. In other words, Mason prioritized his role as timekeeper here over being a daredevil. Subsequently, Hancock’s Rhodes solo was not as fiery as it could have been. This was more than addressed in the second set that followed.
After a 15-minute intermission, the stage was filled with nearly double the number of players as Hancock brought out his most recent band to play alongside the Head Hunters band in one of the most jaw-dropping highlights of the night. Now with the additions of James Genus on bass, Lionel Loueke on guitar, Jaylen Petinaud on drums and special guest Terence Blanchard on amplified trumpet, the energy level shot through the roofless amphitheater as they played a version of Hancock’s EPIC Jazz-Funk Fusion classic, “Actual Proof” – initially at the head-nod tempo of the original recording on Thrust…then swiftly into the hyper-speed Hancock and his current band have been playing it for the last couple of years post-pandemic.
Loueke’s and Blanchard’s solos shot like thunderbolts across the stage bringing some most welcome electricity to the proceedings. Hancock, palpably awakened, threw down a percussive keyboard solo that was literally hair-raising. And, because this tune is world-renowned as essential drum shedding material thanks to the pioneering manner that Mike Clark laid it down on wax – they capped it all off with a dual between drummers Mason and Petinaud that somehow was take no prisoners yet overflowing with mutual respect. SUCH a thrilling and heartwarming vibe to behold. At the song’s end, both players of vastly different generations and approaches, acknowledged each other with broad smiles, Petinaud additionally bowing to Mason. What a moment!
To save space, the remainder of the second set largely mirrored the one Hancock’s band played around the world for many months in many arenas, including the Hollywood Bowl. That is to say that the band was beyond prepared and blazing to play this music from many 2020-decade performances of fire. This set included a winding “Overture” of many Hancock themes from “Textures” to “Butterfly.” Benin-Africa-born wonder Loueke on guitar took Hancock’s Grammy-winning Techno/Hip-Hop classic from 1983, “Rockit,” handling all the rhythm, melody, and harmony parts via his axe and his voice to virtuosic effect. An arrangement by Blanchard of “Footprints,” the Jazz classic composed by Hancock’s dearly departed “best friend’ Wayne Shorter, was a masterful take on the masterpiece, made fresh anew. A more recent piece, “Secret Sauce,” featured a soaring lead vocal by Loueke over a driving, 4-on-the-floor Afrobeat. Then James Genus played a fine solo piece on bass of layered leads, melody, and pulse.
For the grand finale, the Head Hunters returned one last time to join everyone else for an encore finale of “Chameleon” that brought a roar from the crowd.
Earlier in the evening, Hancock singled out Young Lions saxophonist Devin Daniels and Jaylen Petinaud. “How do you like my drummer,” queried the man who shared many stages with none other than Tony Williams. “Don’t worry about Jazz,” Hancock assured. “It will continue.”
In a night that found Herbie Hancock spanning 50 + years of his career, all present can only be grateful that he has led the charges with concepts and directives that never discard the past yet always point the music in one singular direction: forward. – A.Scott Galloway
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