TWO
PHENOMENAL ARTISTS
who love to broaden and reinvent the spectrums of their
current music vocabulary displayed their passion, along
with their obvious chemistry and camaraderie to one another
at the Hollywood Bowl. Lang Lang, the 27 years old Chinese
classical sensation of the piano, is seeking to enter the
world of jazz improvisation with the master of instantaneous
bursts of creativity – Herbert Jeffrey "Herbie"
Hancock. The innovative jazz icon, who will be overseeing
jazz programming for the Walt Disney Concert Hall and the
Hollywood Bowl between 2010 and 2012, is fulfilling his
goals in the cross-pollination of music of various cultures
via various forms of global collaboration and mentoring
artists. (Editor's Note: One hopes that Mr. Hancock
will add his creative input with the programming and promotion
of the "Global
Pop" at Hollywood Bowl's sister venue - Disney
Hall. Imagine the magical musical moments and attention
the "Global Pop" series would have received with
the past artists that included Lea
Salonga, Fly to the Sky, Coco Lee, Lena
Park and Wheesung!) With the guidance of conductor
John Axelrod - Lang Lang and Herbie Hancock have truly sought
to transcend boundaries (hence rescuing jazz and classical
music from increasing marginalization in the pop culture
marketplace and media outlets) via their magical hands
of dexterity and merging their respective creative disciplines.
By the end of the night, one can accurately conclude that
the two masters of the black and white ivory keys were just
playing great music that goes beyond description that adheres
to Hancock’s vision that “the fact of the
matter is that boundaries in descriptions of musical genres
really create limitations . . . . Music itself has no boundaries.”
LANG
LANG AND HERBIE HANCOCK
are two great and talented musical ambassadors who are seeking
to unite, ignite and excite audiences for their passion
to create music without “outside forces” (as
Lang Lang and Herbie Hancock have described the factors
that limit creativity) placing restrictions on their
collective creative vision. Under the expert baton of John
Axelrod, the performance showed the fruits of each pianist
embracing their respective steep creative learning curves
- Hancock trying to master intricate classical scores (or
"remaster" since he was a child prodigy within
classical music world) and Lang Lang plunging into
an art form where few classical pianists dare to go —
jazz improvisation. With a very talented and affable pianist,
Hancock faced the excitement of embracing this "new
experience" in music of incorporating creative magic
(providing meaning and feelings within a prescribed
arrangement of notes) and improvisational freedom within
a set structure. Meanwhile, Lang Lang was venturing into
a musical landscape that is devoid of the security of the
notes and timing within classical music to spontaneously
improvise the meaning and feeling within his soul. Together,
their mixture of composed music and improvisations sought
to expand their respective musical idioms of expertise that
have been traveled by past creative musical partnerships
such as the acclaimed Miles Davis/Gil Evans collaborations
(among others) that featured illuminating creative
dialogues between two magnificently talented forces of creativity
at their very best. Though it would be unrealistic to expect
such musical excellence and/or creative fireworks at their
early stage of collaborating, Lang Lang and Herbie Hancock's
joint performance – that is an outgrowth of their
strong friendship and respect for each other - provided
them the ability and assurance to one another the freedom
to explore the ability to push each other to various musical
“cliffs” and/or “cliffhangers” (as
described by the artists) that they might not have
ventured without the other in their quest to experience
a new creative nirvana. Their respective and well-deserved
reputations provided them the ability to share these moments
of discovery to the appreciative audience at the Hollywood
Bowl and worldwide.
LANG
LANG'S REPUTATION
as the “hottest artist on the classical music planet”
(New York Times), 2009 Time 100 – Time magazine's
annual list of the 100 Most Influential People in the World,
Recording Academy’s Cultural Ambassador to China, official
worldwide ambassador to the 2010 Shanghai Expo, Carnegie Hall’s
Artistic Advisory Board member, United Nations Children’s
Fund’s (UNICEFF) International Goodwill Ambassador,
first Ambassador of the YouTube Symphony Orchestra and Sony
Electronics’ global brand ambassador has provided him
this opportunity. Herbie Hancock’s is recognized and
widely respected as one of the most influential genre-defying
jazz musicians of the 20th century. He has integrated rock,
soul, jazz, funk, blues and modern classical music with Claire
Fischer/Bill Evans/Claude Debussy/Gil Evans/Maurice Ravel-like
harmonic concepts with his restless experimentalism into a
“post-bop” sound whose reputation was founded
on being part of ground-breaking Miles Davis’ various
music ensembles. As a result of his past track record and
success, audiences throughout the world has always looked
forward to seeing what new musical worlds he will conquor.
WITH
JOHN AXELROD, “considered
to be one of the most talented, creative and unconventional
conductors of his generation" by Eckehard Pistrick
of the Mitteldeutsche Zeitung, he was personally invited
by Lang Lang and Herbie Hancock to guide their magical mystery
tour of merging classical and jazz idioms. Through his magical
baton, the night’s musical selections maintain a central
focus and flow throughout the evening. The conductor, who
is “representative of the new generation of conductors:
young, vigorous, full of elan and feeling" (so
declared Gabriela Szczegulski of the Bietigheimer Zeitung),
has the musical diversity, versatility and expertise to
guide the pianists through the night’s various musical
selections that included working with prominent orchestras
throughout the world. In addition, his background includes
working with Leonard Bernstein (as a 16 years old student),
studying jazz at the Berklee College of Music, handling
Marc Cohen/Toris Amos while being Atlantic Records’
A&R Director, working with Bruce Hornsby/Smashing Pumpkins
while being BMG’s Director of A&R, managing contemporary
jazz saxophonist Warren Hill, trained at the St. Petersburg
Conservatory with Ilya Musin and founding Houston's groundbreaking
OrchestraX made him uniquely qualified to be a star of the
program behind Lang Lang and Herbie Hancock. Given his background,
one wonders what music magic he would have brought to historic
landmark concerts that required versatility such as when
Barbara Streisand opened up for Miles Davis in 1961 at New
York's famed jazz club - The Village Vanguard, if they had
performed together.
THE
LOS ANGELES PHILHARMONIC ORCHESTRA
warmed up the crowd with the Overture from Mozart's "Marriage
of Figaro" within a sound mix that handicapped John
Axelrod efforts when the strings weren’t projected
with the warmth and resonance that is normally accorded
to the L.A. Philharmonic Orchestra at the Hollywood Bowl,
though the brass and reed section had the needed brilliance
that provided the ability for their respective sections
of the musical selections to stand out. Leonard Bernstein’s
“Mambo” from West Side Story suffered a similar
fate, being the opening number of the second half of the
evening.
BEFORE
THE FEATURED PART
of the evening was to start, Herbie had forgotten his reading
glasses! Could this be one indication, albeit comically,
that the focus will be something that will be different
and required (given his first number with Lang Lang
was a challenging selection within the classical realm)
channeling his creative magic within a set musical structure
of notes, something he hasn’t done for almost five
decades? It also provided unrehearsed moments and banter
that placed on full display the strong bonds between the
three principals that will be more evident as the evening
progressed while seemingly sharing with the audience their
personal invitations of entering their worlds of music with
them.
THE
REPERTOIRE, outside
of the obligatory “Mirage of Figaro” and “Mambo,”
provided a stylistic breadth and musical depth that was
seemingly designed to challenge and entertain the listeners
(new and old) – as well as the artists. Selecting
to performing Vaughan Williams Piano Concerto No. 2 - a
refreshing change from the normal classical selections that
are normally played given its great complexity and moodiness
- was indicative of the vision of Axelrod, Hancock and Lang
to continue the composer’s oft-repeated call “for
all persons to make their own music, however simple, as
long as it is truly their own” – along with
noting that in Vaughan Williams' style "one is never
quite sure whether one is listening to something very old
or very new." Each pianist brought their own individual
sound colors that ranged from Lang Lang’s resonating
warm tones that he solicited from his Steinway piano that
highlighted the first movement of the slow Romanza to Herbie
Hancock’s brighter sounds from his Fazioli Pianoforte
instrument that featured the intricate inner melody lines
within the piece while incorporating an innovative use of
space at certain moments for tension and dramatic effect
that highlighted the Finale. Lang Lang’s playing exhibit
his great assurance of knowing where and how to funnel his
individuality (via with his amazing technique and touch)
that allowed him to more freely express himself through
the various selections of the piece. Hancock’s playing
didn’t display the resonance or liquidity within the
various selections while displaying a slight edge, probably
due to his unfamiliarity to this piece – in comparison
to Lang Lang. However - his attack, tonality, fire and usage
of dynamics on various selections of the piece provided
a needed counterpoint to Lang Lang’s playing. Within
the piece, there weren’t many opportunities for individuality
– but as the result of each artist bringing their
unique character and perspective, it was a satisfying performance.
PARTICIPATING
ARTISTS' PAST RECORDINGS |
| The
Best of Herbie Hancock (The Blue Note Years) |
| River:
The Joni Letters (with Bonus Tracks) - Herbie Hancock |
| Possibilities
by Herbie Hancock, John Mayer, & Christina Aguilera
|
| Mr.
Hands (Herbie Hancock) |
| Crossings
(Herbie Hancock, Michael Brecker, Roy Hargrove) |
| 1
+ 1 (Herbie Hancock and Wayne Shorter) |
| Secrets
(Herbie Hancock) |
| Gershwin
World (Herbie Hancock) |
| Awake
(Josh Groban w/Herbie Hancock) |
| We
Are the Future (Josh Groban, Norah Jones, Andrea Bocelli,
Juanes) |
| Closer
(Josh Groban) |
| Chess
In Concert (Josh Groban, et. al) |
| You
Raise Me Up (Josh Groban) |
| Up
Close with Josh Groban |
| Noel
(Josh Groban) |
| Kadish
(John Axelrod, Leonard Bernstein, Kurt Weill, Arnold
Schoenberg) |
| Rolf
Wallin: Act (John Axelrod, Oslo Philharmonic Orchestra) |
| Fazil
Say: 1001 Night in the Harem (John Axelrod) |
| Franz
Schreker und Seine Schüler |
| Chopin:
The Piano Concertos (Lang Lang, Zubin Mehta, Vienna
Philharmonic) |
| The
Magic of Lang Lang (Haydn, Rachmaninov, Tchaikovsky,
and Mozart) |
| Dreams
of China |
| The
Painted Veil by Alexandre Desplat and Lang Lang |
| Rachmaninov:
Piano Concerto No. 2; Paganini Rhapsody (Gergiev, Mariinsky
(Kirov Orchestra) |
| Haydn,
Rachmaninoff, Brahms, Tchaikovsky, Balakirev / Lang
Lang |
| Lang
Lang Live at Carnegie Hall (Chopin, Haydn, Schubert,
and Schumann |
| Dragon
Songs by Lang Lang and Benedict Mirow |
| Beethoven:
Piano Concertos Nos. 1 & 4 by Pascal Moragues and
Paris Orchestra |
AFTER
INTERMISSION and
the obligatory-like performance of Leonard Bernstein's “Mambo”
(from West Side Story) – each of the pianists
took an unaccompanied solo spot. Lang Lang’s interpretation
of Liszt's "Liebesträum" was pleasant while
being filled with flair and tenderness that audiences have
come to expect and love. Hancock’s improvisations integrated
various themes from his catalog of melodies from Cantaloupe
Island, Dolphin Dance, Maiden Voyage and other tunes seemingly
from composers such as Gershwin into a free-flowing free-form
concoction of musical delights that only an artist supremely
confident within his creative imagination can provide and
appreciative listening ears will embrace.
LANG
LANG STARTED
an unaccompanied duet section by integrating various traditional
Chinese folk song themes while Hancock responded by ad-libbing
around the simple but elegant melodies. As Hancock proceeded
to developed the lines within a progressive number of counterpart
interludes, Lang Lang responded within his music vernacular
by providing impressive arpeggio-like runs that solicited
oohs and ahs from the audience, but not the collective creative
“gasps” when accomplished musicians of the jazz
idioms create magical moments. In time, one can imagine
Lang Lang incorporating Hancock’s musicality within
his own and transforming into an artist with an unique musical
voice that incorporates his classical background with the
influence/technique/creative vision of artists such as Bill
Evans, Dave Brubeck, Milt Jackson, Gary Burton, Keiko Matsui
and/or Oscar Petersen.
GEORGE
GERSHWIN'S "RHAPSODY IN BLUE"
was the obvious highlight of the evening because of the
music composition's goal of merging classical and jazz with
its ambitious scope and scintillating rhythms that provided
a viable platform for all of Lang Lang and Herbie Hancock’s
artistry and vision to be illuminated. The L.A. Philharmonic
Orchestra (LAPO) was provided the proper mix that
allowed it to be John Axelrod’s expressive instrument
in providing a solid musical foundation for Lang and Hancock
to take flight in whatever directions they decided. Michele
Zukovsky’s opening saucy clarinet glissando fabulously
set the appropriate tone for the excitment that was to come
afterwards. During the section where they were trading licks
with one another, the differences between the two men were
more clearly defined. While using the warm resonance tones
that he was drawing out of his Steinway, Lang Lang utilized
tempo and dynamic changes within his amazing technique to
express his musicality with startling clean and buoyant
attack of the notes. Hancock, as the result of his jazz
pedigree and vision, eloquently uncovered various musical
variations when he reharmonized sections via oblique voicings
that unearthed different variations of the original melodic
themes. Hancock’s technique and creative artistry
provided a great creative counterpart to Lang Lang’s
explorations that were musically “closer to home.”
THE
SURPRISE GUEST
of the evening was Josh Groban singing George Gershwin’s
“Love Walked In." (This George/Ira Gershwin
song was composed for The Goldwyn Follies in February 20,
1938 - the first Technicolor film produced by Samuel Goldwyn
- though the music was composed in 1930. Sammy Kaye in 1938,
The Hilltoppers in 1953, Ella Fitzgerald in 1959 and Dinah
Washington in 1960 previously had success with the song.
The music composed by George Gerwshwin for this film was
the last before his death on July 11, 1937. An interesting
side note is that George Balachine did the choreography
for The Goldwyn Follies.) The heartfelt performance
was well-received by the audience, though one had a feeling
that if these four magnifiently talented musicians had more
time to work together - a wider range of dynamics would
have been used more effectively. This selection, along with
Rhapsody in Blue, was a probably logical extension of the
fact that Hancock achieved great success 1998 with his album
Gershwin’s World that featured George & Ira Gershwin
standards performed by Hancock (with numerous guests
such Kathleen Battle, Eddie Henderson, Chick Corea, Kenny
Garrett, Wayne Shorter, Stevie Wonder, James Carter, Orpheus
Chamber Orchestra and Joni Mitchell) and working on
Josh Groban’s CD “Awake.”
GIVEN
THAT THE L.A. PHILHARMONIC ORCHESTRA
(LAPO) played an important to the presentation
of the music, it should be recognized that the principal
musicians that night included Alexander Treger (concertmaster),
Mark Kashper (principal second violin), Dale Hikawa
Silverman (principal viola), Peter Strumpf (principal
cello), Dennis Trembly (principal bass), Sarah
Jackson (principal flute), Marion Arthur Kuszyk
(principal oboe), Michele Zukovsky (principal
clarinet), Judith Farmer (principal bassoon),
Eric Overholt (principal horn), Jim Wilt (principal
trumpet), James Miller (principal trombone),
Norman Pearson (principal tuba), Joseph Pereira
(timpani), Raynor Carroll (percussion),
Lou Anne Neill (harp), Joanne Pearce Martin (keyboard),
Douglas Masek (saxophone) and Stephen Schaeffer
(drumset).
AT
THE END OF THE EVENING, Herbie
Hancock and Lang Lang can be satisfied with their collaboration
because they have successfully started their journey of
transcending boundaries between their respective musical
genres and disciplines while expanding the landscapes of
their creativity. In addition, it has fulfilled Hancock's
purpose of “meeting what people and humanity need.”
He has stated that his approach to making music had changed
over the years and that he did not want to "lock myself
into a box, a comfort zone." Lang Lang can be satisfied
with teaming with Herbie Hancock because he was the best
choice for a mentor to successfully incorporate jazz improvisations
within his creative palette. The unabashed joy these two
masters of the piano expressed for one another made whatever
music they made with each other a joy for any audience (now
and in the future) – not matter what their tastes
might be since (as Herbie Hancock has stated) "music
itself has no boundaries.".
