Staff Blog

Although it is about a month late for reports from the Grammy Awards, in a contest that often ignores the slighter sides of music — classical, jazz, folk, blues, anything that does not often sell in the millions — it is impressive that jazz legend and innovator Herbie Hancock squeaked through to win the prestigious “Album of the Year” award. In February, Hancock became the first true jazz artist in 43 years, to win this coveted prize, the last being Stan Getz and João Gilberto with the album Getz/Gilberto in 1965.

In the years since then, names like Frank Sinatra, Quincy Jones and Tony Bennett have won this award but have been excluded from this unique group of “jazz artists.” That, however, is an argument for another article.

While the masses swoon over the great pianist’s most recent release entitled River: The Joni Letters, I cannot help but feel as though there is still something to be desired from the man who helped usher the electric piano into the foreground of jazz music in the 1970s. This revolutionary of jazz-fusion has created a record which by many peoples’ standards seems watered down.

Without doubt or question, River is a quality album, and does indeed deserve the recognition it has received. In addition, as a lifelong jazz lover, I am ecstatic that a jazz album has won the commercial music industry’s highest honor. But this enthusiasm can only span so far.

Unfortunately, I cannot help but think about what this album could have been. Accompanying Hancock on River are undoubtedly four of the most incredible names in jazz today: Wayne Shorter (sax), Dave Holland (bass), Vinnie Colaiuta (drums) and Lionel Loueke (guitar).

Shorter is widely regarded as one of the greatest composers in jazz history, in addition to being one of the most sought after sax players of the past half century. Holland currently leads the most complex and groundbreaking big band of our day. These two men played on the legendary Bitches Brew album with Hancock, Miles Davis and anybody who was anybody in the jazz scene of 1969. This album is marked as the album that brought jazz-fusion to the world.

With Hancock, Shorter and Holland setting the groundwork for River, Vinnie Calouita and Loueke, who broke onto the music scene in the late 1970s when he began playing with Frank Zappa, and Loueke, student of Hancock. Shorter and Holland each poured their own influences into the album.

Because Joni Mitchell is featured on this record, it is essential to point out that she does not slouch when it comes to jazz trail-blazing. She, along with Hancock, Shorter and the pioneer of avant-garde jazz Charles Mingus recorded the album Mingus, which was an illustrious blend of folk and electric fusion-jazz.

After recruiting all of these historical jazz innovators, it is unfortunate that future generations will regard this album of folk songs as Hancock’s crowning achievement. It represents a disturbing trend for jazz in commercial music, which is only recognized when tacked to a name like Tina Turner, Norah Jones or Sting, all of whom have been featured on Hancock’s two most recent albums, which have had immense critical acclaim.

The highlight of River is Wayne Shorter’s song “Nefertiti” which is one of four instrumentals on the album that truly shines through with the incredible force that this group can obviously produce.

As I said, I am thoroughly enthused that jazz is being recognized on such an illustrious stage, but I cannot help but wonder if this award is encouraging a departure from the experimental, revolutionary roots that gave Hancock the opportunity and privilege to be the spokesperson of jazz to the commercial audiences.