The performance by Hancock and a world-renowned band was joyous, energetic and downright mind-blowing a welcome departure from the often staid vibe of many of the concerts offered at the Hopkins Center for the Arts. The music itself ran the gamut from '70s-style jazz/funk/rock fusion with an emphasis on solos and improvisation to jazz/world beat covers of popular songs from the '60s and '70s to heartbreakingly lyrical solo improvisations played by the band's charismatic 70-year-old leader, Hancock.
Hancock's stage manner resembles that of a performer at least half his age, full of foot-stomping, head-bobbing and irreverent addresses to the audience. Even the most veteran of Hancock's collaborators including drummer Vinnie Colaiuta and singer/keyboardist/vocalist Greg Phillinganes, both of whom have played with a staggering array of the most famous and respected musicians of recent times, including Michael Jackson and Stevie Wonder never showed any sign of letting up in terms of the sheer energy and verve of their playing.
The concert opened with a complex, funky groove laid down by Colaiuta and Saturday Night Live bassist James Genus that led into a trippy, highly chromatic jam played by almost the full band and packed with atmospheric sci-fi synthesizers and wah-wah guitar. This first number highlighted the absence of any horn instruments a staple of classic acoustic jazz signifying that this would be a show centered on the use of electronic instrumentation.
After a casual and amusing spoken welcome by Hancock, the band launched into a fusion cover of John Lennon's "Imagine," the first of a number of songs they played from their new album "The Imagine Project" (2010). Opening with a quiet and dignified yet harmonically complex solo introduction from Hancock on piano, the song quickly morphed into a funky, toe-tapping celebration with soaring vocals from Phillinganes and Kristina Train, a young and gifted vocalist recently signed to the legendary Blue Note Records.
Following a rousing jam on Hancock's fusion classic "Watermelon Man" and a beautiful performance of "Don't Give Up" marked by warm synth pads and South African-style harmonies from Phillinganes and the influential jazz guitarist Lionel Loueke the audience was treated to a long and poignantly lyrical solo improvisation by Hancock on piano, the one purely acoustic number of the evening.
Hancock's shining solo moment led into a fun medley of Bob Marley's "Exodus" and the West African band Tinariwen's "Tamitant Tilay." Next the band performed gentle covers of Bob Dylan's "The Times, They Are A-Changin'" and Sam Cooke's "A Change Is Gonna Come," both sung with ravishing beauty by Train.
After one more manic jam, the band yielded to the audience's eager demands for an encore with Hancock's all-time classic "Chameleon." Emerging out of a darkened backstage area with a bright white keytar a handheld keyboard with a guitar strap and one of Hancock's signature tools the bandleader resembled a rock star more than anything else as he lay down impossibly funky synth solos over the famous composition's syncopated ostinato bass line. As the audience danced and cheered, it was easy to imagine many in the crowd hoping they wouldn't have to wait another 21 years before this incredible musician returns to Hanover.
