Herbie Hancock - The Imagine Project





Album review. Herbie Hancock, the most important living US musician, is celebrating his seventieth birthday with a gift to the world of music and to the world itself.

Sony

Release date: June 21st 2010

Availability: CD, MP3 Download


 Herbie Hancock – The Imagine Project cover


Herbie Hancock, the most important living US musician, is celebrating his seventieth birthday with a gift to the world of music and - depending on how far you think music can promote change - to the world itself.

'The Imagine Project' began as a meditation on John Lennon's seminal declamation of how that world could become a better place and evolved into an expansive project in which Herbie Hancock traveled the globe to bring together musicians and singers from the most disparate traditions around a programme that can stand as a beacon for a new hope for change in an often more than ever cynical environment. As such it is not only the most important vocal jazz album to be released in decades but also one of the most important statements of jazz as commitment since Max Roach's 60's album 'We Insist'.

As Herbie Hancock comments*:

'At this point, I think about purpose before I decide to make a record……. The economic crisis pointed out to me that the average American has a sense of globalization right at their back door. It's time for people to create the kind of world we want to live in, and the path toward peace will come through global collaboration.'

Herbie Hancock and producer Larry Klein traveled the world – to London and Paris, to Mumbai, India, to Ireland, back to the States - to bring together a talented group of musicians from the pop, jazz, folk and world music traditions.

The John Lennon touchstone 'Imagine' brings together Seal, Pink, Congolese band Konono No l, Jeff Beck, Malian vocalist Oumou Sangare, India.Arie, Lionel Loueke and Marcus Miller in a riveting performance, kicked off by the powerful vocal harmonies of Pink and Seal.

'Don't Give Up' features Pink and John Legend (with a delivery worthy of composer Peter Gabriel) and haunting harmonies that bring out the full meaning of the relevance to the apartheid struggle in South Africa. On both tracks Jeff Beck's guitar playing is outstanding.

Sam Cooke's 'A Change is Gonna Come' – made definitive on the Otis Redding album 'Otis Blue' - features English singer James Morrison in a fine interpretation.

These three tracks are the heartbeat of the album. If the hairs on the back of your neck don't stand up, you're missing something.

Background on the album and the project is given in the following EPKs for Sony/BMG in Singapore:





On the remaining tracks, 'Tempo De Amo is a performace by Brazilian jazz singer Céu.

'Space Captain' is headed up by ex-Allman Band slide guitarist Derek Trucks and his blues singer wife Susan Tedeschi.

The Bob Dylan song 'The Times, They Are A' Changin' brings together Irish folk group The Chieftains, Toumani Diabeté, Lionel Loueke and Lisa Hannigan.

'La Tierra' features Colombian rock/jazz musician Juanes, known for his humanitarian work to aid Columbian vicitims of mines.

'Exodus' brings together south Saharan nomad band Tinariwen and Tex-Mex rockers Los Lobos with Herbie Hancock in Headhunters funk mode.

Lennon/ McCartney's 'Tomorrow Never Knows' is given a suitably mystical and spacey treatment by Dave Matthews, backward guitar loops included.

The closing 'The Song Goes On' features sitarist Anoushka Shankar (daughter of Ravi and half sister of Norah Jones), Chaka Khan and old jazz compatriot Wayne Shorter.

A truly mind stretching international grouping of musicians, not brought together in this way before.

Herbie Hancock's piano playing throughout is perceptive, restrained and enabling. It befits his intention to politely direct a mainly younger generation of musicians towards a music of global significance.

As Herbie Hancock told Jill Jacobs**, much of the inspiration for overcoming the difficulties in achieving the project came from his adherence to Buddhism:

'In Buddhism, they say if you try to do something for the greater good, no question you will run into obstacles. I knew this record was for the greater good because I ran into some major challenges….. But winning over obstacles is the key to happiness because hidden beneath an obstacle lies its value and it's your responsibility to find what that is. That's the key…. To look at it that way will move your life forward. That's true freedom."

He also pointed to the lifelong influence of Miles Davis:

'I think he would like this project. I think a lot of people who played with Miles were deeply touched by the experience of working with him in a way that's mystical and indescribable.'

Miles certainly would not have been troubled by the observation that the result of 'The Imagine Project' is more like pop than jazz – those distinctions became as unimportant to him as they clearly are for Herbie Hancock. The aim is to make music that can engage and inspire people wherever they are. Music that can make a difference. And that is very much the status that this fine celebration of the world of committed music deserves.

*Steve Jones: Hancock thinks big on new album

** Jill Jacobs: Herbie Hancock Goes Global for "The Imagine Project"


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Bill Charlap and Renee Rosnes - Double Portrait





Album review. Fifty minutes of absorbing and thoughtful jazz played by two fine musicians.

Blue Note

Release date: June 8th 2010

Availability: CD, MP3 Download


 Bill Charlap and Renee Rosnes - Double Portrait cover


Pianist Renee Rosnes has established a strong reputation in jazz. Her early work with drummer Billy Drummond, Wayne Shorter and Joe Henderson - sadly, those Blue Note albums with Joe Henderson have still not been made available - was followed by a breakthrough period as a solo performer with Blue Note that produced the fine albums 'Ancestors', 'As We are Now' and 'Art and Soul'. And in recent years she has been a mainstay of the SF Jazz Collective.

Pianist Bill Charlap is similarly well established. He has been recording with Blue Note since 2000 and has performed with Tony Bennett, Phil Woods and Gerry Mulligan. He served recently as the musical director of The Blue Note 7, formed to celebrate the 50th anniversary of the label.

Bill Charlap / Renee Rosnes  photo
Photo credit: Nick Ruechel

The couple married in 2007. It was natural, then, to think about a piano duet album. 'Double Portrait' is the result.

There are references to past greats that the couple have worked with in their perceptive versions of Gerry Mulligan's ballad 'Little Glory', Wayne Shorter's 'Ana Maria' and Joe Henderson 'Inner Urge'. And there are fine takes on the American Songbook with Frank Loesser's 'Never Will Mary', Arthur Schwartz and Howard Dietz's 'Dancing In the Dark' and 'My Man's Gone Now' (a tune often performed by Bill Evans) from the George Gershwin opera 'Porgy and Bess'.

Lyle Mays' 'Chorinho' provides a strong opener and the song list is completed by the Renee Rosnes original 'The Saros Cycle'.

The outcome is fifty minutes of absorbing and thoughtful jazz played by two fine musicians. Those two grand pianos in their apartment certainly have seen considerable use!

Recommended.


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Related reviews:

Blue Note 7 - Mosaic

Renee Rosnes - As We Are Now


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Tom Harrell - Roman Nights





Album review. Tom Harrell's third album for HighNote shows the growth that comes from having a band that, over a five year period, has established itself as one of the best in jazz.

HighNote

Recorded on November 27th 2009 at Bennett Studios, Englewood, NJ

Release date: March 23rd 2010

Availability: CD, MP3 Download


Tom Harrell - Roman Nights cover


'Roman Nights' is Tom Harrell's third album for HighNote and it shows the growth that comes from having a stable basis for keeping together a band that, over a five year period, has established itself as one of the best in jazz.

The nine originals cover the full range of Tom Harrell's gifted musical imagination - the edgy forwarnings of 'Storm Approaching', 'Agua' and 'Year Of The Ox'; the uplift and optimism of 'Let The Children Play' and 'Bird In Flight'; the outright beauty of 'Roman Nights' and 'Harvest Song'; the continuation of the study in melodic/harmonic/rhythmic complexity of 'Study In Sound', 'Bird In Flight' and 'Obsession'.

Tom Harrell's comments to Doug Ramsey on the album liner notes are revealing of his approach:

'I enjoy complex structures….. but having a melody that's song-like is a way to link with a listener. The harmonies may still have complexity, but the melody can lead the listener to feel what the music expresses."

Doug Ramsey points to the coming together of influences in Tom Harrell's approach – Anonio Carlos Jobim's use of melody; Bela Bartok's development of the relationships between melody and harmonic intervals; folk music from Asia, Latin America and Africa; Charlie Parker's sense of harmony.

Tom Harrell photo
Photo credit: R. Cifarelli

He quotes Tom Harrell's comments on what he learned from Dizzie Gillespie on the importance of rhythm:

'(Dizzie) said that no matter how beautiful the notes you might select, the rhythmic placement - were you put the note - can affect its beauty. There's an influence between rhythm and harmony. The impact of a chord is very much determined by rhythmic placement, duration and tempo. If you let the chord breathe and give it time to resound, it has a different impact than if it's played percussively with a very short value. Both approaches can establish the beauty of the note. Finding good rhythmic placement is an ongoing search.'

In this search Tom Harrell is joined by musicians at the top of their form. The band - Tom Harrell (trumpet, flugelhorn), Wayne Escoffery (tenor saxophone), Danny Grissett (piano, Fender Rhodes), Ugonna Okegwo (bass), Johnathan Blake (drums) - handles the complex rhythms and rapid chord changes with style and produces some great performances with Tom Harrell himself and Wayne Escoffery particularly outstanding in fine solos and harmonized statements of the themes. The overdubbed harmonised horns on 'Let The Children Play' are particularly appealing.

And there is risk taking too. The opening six or seven notes of 'Roman Nights' strongly suggest the Webster/Fain standard 'Love Is A Many Splendored Thing' before the ballad departs on its own path to deliver a stand out feature for Tom Harrell on flugelhorn.

This is intelligent, enjoyable jazz that takes Tom Harrell's remarkable exploration of the form a further step along the way and points to the seminal nature of his innovative contribution. A clear candidate for best jazz album of the year.


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