The Piano - Herbie Hancock

May

8

The Piano - Herbie Hancock

≡ Category: 1970s, Post Bop, Reviews |
≅ Written by: Michael Kydonieus

WORTH A LISTEN

Rating:

When I came across The Piano while browsing one day on Amazon.com, I was shocked to learn of it’s existence. I had no idea that Herbie Hancock had recorded a solo piano album in the late 70s. That’s because up until recently, it had only been released in Japan.

The Piano was recorded under somewhat bizarre circumstances. Direct to digital recording was in it’s infancy. At that time, there was a strict time limit of 16 minutes to any track. Herbie Hancock took this as a challenge and decided to record two suites of 16 minutes each, allowing the normal amount of space between each tune.

Producer David Robinson feels that these self-imposed limitations provided inspiration for Hancock and resulted in a better recording. I’m not so sure.

The first suite consists of tunes associated with Hancock’s tenure with the mid-60s Mile Davis’ Quintet: My Funny Valentine, On Green Dolphin Street, Someday My Prince Will Come, and one classic tune from Hancock’s own Maiden Voyage. Hancock’s approach on these tunes is uncharacteristically abstract and impressionistic, as if he were under the spell of Bill Evans. He doesn’t swing a whole lot, employing a lot of rubato, stretching or collapsing the time at will.

I became impatient listening to this suite, which may be more an indication of my personal taste than the quality of Hancock’s playing. But for me, the suite comes and goes like ripples in a pond, leaving no lasting impression.

The second suite, consisting entirely of Hancock originals, is a distinct improvement. Freed from having to find new things to say about compositions he has played hundreds of times, Hancock plays these less familiar tunes in a more straightforward manner. However, the focus stays squarely on lyricism. There’s very little fire in these performances. If you played The Piano over the loudspeakers in an upscale piano bar, the patrons would not be discomfited.

On the very last tune, Blue Otani, Hancock allows himself to get a little bit funky, and to swing a little bit. It’s a relief.

Still, I appreciated hearing the new compositions that make up the second suite. While none of them are deathless classics like Speak Like A Child, they’re pleasant enough.

So, who is The Piano for? Probably not for casual fans of Herbie Hancock or solo piano in general, unless you really like ultra-gentle lounge piano.