AMG Review (4 1/2):
Gershwin's World is a tour de force for Herbie Hancock, transcending genre and label, and ranking among the finest recordings of Hancock's lengthy career. Released to coincide with the 100th anniversary of George Gershwin's birth, this disc features jazzman Hancock with a classy collection of special guests.
The most surprising of Hancock's guest stars is Joni Mitchell, who delivers a gorgeously sensual vocal on "The Man I Love," then provides an airy, worldly take on "Summertime." On these two tracks, she shows she has come a long way from her folk-singer beginnings to become a first class jazz singer in her own right. Stevie Wonder's unmistakable harmonica complements Mitchell's singing on "Summertime" and shares lead instrument space with his own voice on the W.C. Handy classic "St. Louis Blues." Jazzman extraordinaire Wayne Shorter smokes a solo spot on Duke Ellington's "Cotton Tail" and carves out some space for his soprano saxophone in the midst of "Summertime." A number of the young lions of jazz are featured on various cuts, and Herbie's old pal Chick Corea joins the leader for a piano duet of James P. Johnson's "Blueberry Rhyme." Gershwin's wonderful, extended "Lullaby" finds Hancock teamed with the Orpheus Chamber Orchestra, as does an attractive arrangement of a "Concerto for Piano and Orchestra" by Maurice Ravel, whose jazz influence can be heard on the piece. In addition, one of the most beautiful tracks on the album places star soprano Kathleen Battle's voice at the forefront of Gershwin's own "Prelude in C# Minor." Yet with all the fine performances by his guests, Gershwin's World remains Herbie Hancock's show, and he plays magnificently throughout. From beautiful to funky, percussive to melodic, improvisational to tightly arranged, Hancock and cohorts take a wondrous journey through the music and world of George Gershwin. — Jim Newsom
birdpages.co.uk *****
By adding inspired invention to genius, Hancock has created as near a perfect marriage of music and mission as we are likely to hear in this humble lifetime.
Wildly ambitious and hugely rewarding, Hancock liberates Gershwin of the constraints popologists have strait-jacketed Gershwin in-- Tin Pan Alley, Broadway, film musicals-- setting the composer free upon the world stage where the true swing enriches while the groove empowers.
Framing Gershwin within the context of his contemporaries-- W.C. Handy, Ellington, Ravel-- Hancock boldly underscores the deep interaction of styles and influences each man had on the other. From the incessant pull and punch of George and Ira's I Got Rhythm comes Ellington's propulsive Cotton Tail. The Afro-percussive musings on Fascinating Rhythm and It Ain't Necessarily So highlights Gershwin's ear for world musics long before it became a cause d' celebre.
To further illustrate the stylistic interplay, Hancock has assembled an eclectic supporting cast of his own contemporaries to fulfill his vision. Sax men Wayne Shorter and Kenny Garrett are immeasurable. Joni Mitchell is more sultry and penetrating on The Man I Love and Summertime than anything on her latest Taming The Tiger. The renowned Orpheus Chamber Orchestra shimmers while Hancock distills Gershwin's improvisational style on Ravel's Concerto in G, and Gershwin's own luxurious Lullabye and Prelude in C# Major, which also features opera's Kathy Battle on hauntingly wordless vocals.
Two all star pairings manage to momentarily slow down Gershwin's World. Stevie Wonder's take on W.C. Handy's St. Louis Blues is just too much Stevie. Likewise, the Chick Corea/ Hancock duet on stride piano master James P. Johnson's jumping Blueberry Rhyme is hampered by a claustrophobic virtuosity. In other words, too much of a good thing.
I realize that pinpointing two small flaws in a masterwork is like comparing apples and oranges, and each has their season. Gratefully, the music of George Gershwin goes beyond these seasons. Herbie Hancock has reminded and insured us of that.
Mike Jurkovic © rhythm & news 1999 |
