The Herbie Problem

Pianist Herbie Hancock has recorded one perfectly sublime jazz album (Maiden Voyage) and a couple of dozen significant others. He's composed two simple, irresistibly catchy tunes ("Watermelon Man," "Chameleon") that will be jam session favorites as long as there are fake books and garage bands, plus the first mainstream single to feature scratching ("Future Shock") and the first jazz sample (from "Cantaloupe Island") featured in a huge crossover hit ("Cantaloop" by U.K. DJs Us3). He helped galvanize Miles Davis' exploratory '60s quintet, popularized the Fender Rhodes electric piano and delved deeply into synthesizers while never abandoning the classic grand. 

So why are his concerts so dull? 

Perhaps the Herbie problem is mine, not his: The nearly full house June 23 at Carnegie Hall for his career-celebrating "Herbie's World" concert in the JVC Jazz Festival New York gave the man and his star-studded ensembles several standing ovations. 

People listened closely as Hancock, in trio with fellow Miles alumni Ron Carter (bass) and Jack DeJohnette (drums), toyed with his '60s song, "Toys," and the ballad, "I Thought About You." They rightly cheered the surprise guest appearance of Michael Brecker, whose medical travails have not impaired his rigorous tone and technique as demonstrated by his slashing mastery of Hancock's difficult "One Finger Snap." 

The audience was kindly receptive to Hancock's quintet comprising West African guitarist Lionel Louke, whose style has a delicate quality, and violinist Lili Haydn, who also sang a treacly composition of her own. Things picked up a bit when electric bassist Marcus Miller joined the ensemble to loudly thumb the "Chameleon" theme, which these days seems more chunky than funky. We sat expectantly through three impressionistic, improvisational piano duos by Hancock with Cuban expatriate romanticist Gonzalo Rubalcaba. Cheers arose again for the concert-ending quartet of Hancock with his old friend Wayne Shorter on saxes, estimable Dave Holland on bass and game Brian Blade on drums. 

The crowd wanted an encore; everyone but my date and I seemed to leave the concert buzzing. So am I jaded, or what? 

Yes, I'm jaded, and I also have high expectations. Over the past 40 years Hancock has exemplified jazz's ability to be both smart and popular. He's one composer/performer capable of genuine lyricism, daring breakthroughs and uncondescending use of America's gospel-blues tropes to create internationally accessible, engaging music. I attend Hancock's performances over and again, hoping he'll pull off this trick, however disappointing the last try was. 

Two pianos stirred by virtuosi such as Hancock and Rubalcaba can't possibly sound bad in a concert hall like Carnegie, but they are challenged to sound meaningful. Few piano duettists really lock in with each other. Without evident preparation, relying on spontaneous impulses, Hancock and Rubalcaba offered up brooding reverie, unanchored single-note runs and cloudy dissonances. Better they dish it one at a time. 

Where is Hancock as leader of this gang? Why can't or won't he make a statement, rally his troupe to focus its expression, reach out to the listeners, wrap us in the music and take us higher? If jazz doesn't do that, if it only wants to be admired, it's ready for burial now.

Has Herbie Hancock lost his edge? Physically fit, active and articulate, maybe he's too comfortable. Chilled. A California Buddhist, multiple Grammy winner and NEA Jazz Master. Fulfilled. Yet ambition, conflict and desire have always lent jazz excitement. 

If the imperative in Herbie's World now is "make it pretty," and you've spent $40 to $100 for Carnegie tix to hear him, you're going to want to like it. But jazz should be hot as well as cool, and always new. Astonish us, Mr. Hands! Dig in and let rip. Next time.