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By Dirk Sutro Sometimes the synergy of two artists far surpasses a performance by either as a solo act. Last summer, I caught Herbie Hancock on a solo tour, and the music bordered on the trivial. He seemed to be going through the motions, playing some of his best-known material, halfheartedly tossing off solos that paled in comparison to his earlier work. This summer, though, Hancock is on the road again, in support of 1+1 (Verve), a striking new duo recording of original music with Wayne Shorter.
Together, the two make some of their finest music in years. Shorter’s compositions, all played on soprano sax, are particularly strong and partially inspired by the death of his wife, Ana Maria, in the crash last summer of TWA Flight 800. And Hancock is in fine melodic voice. Inspired by each other, these seasoned players display new levels of mastery, tracing this moody music with the sparest of musical lines, much like late Matisse or Picasso.
Shorter and Hancock, who both became famous for electric rock-jazz during the 1970s, have long since returned to their acoustic roots. They’re in San Diego September 9 at Humphrey’s Concerts by the Bay, and the show should be one of the venue’s more successful efforts in presenting genuine jazz ... in terms of attendance as well as artistry. But the relationship between these two musicians runs deeper than mere music.
“I met Herbie around 1961 or 1962, when we were involved with an album on Blue Note,” says Shorter. “We lived near each other in New York City, with our families. Our kids were born about the same time; Herbie’s wife and my wife were walking the streets of New York City with baby carriages together. I lived on one corner, Herbie lived on another. Chick Corea lived near us. Joe Zawinul [who later formed Weather Report with Shorter] lived up the street. Being that we were with Miles Davis’ band, we got to know each other off the bandstand.
“There’s been long periods when we haven’t seen each other—something like 14 years went by, except for VSOP [a reunion tour and album in the spirit of early Davis]. That whole experience in past years lends itself to this almost instantaneous composing, developing something between two people.”
At a time when many straight-ahead jazz players, young and old, are tending toward thick ensemble arrangements, this minimalist twosome sounds especially good, with Shorter’s focus on soprano sax adding to the elegant simplicity. Clearly, the experience of making 1+1 was cathartic for the artists, who found other inspiration in surprising places.
“One thing Herbie and I decided was to think like we were George Carlin, like we were standup comedians who couldn’t look to a drummer to help us out. The feeling that less can be more is an actual theory you try to manifest, so people have a way in—a way to participate in their imaginations by not being blocked out with drums, bass and other horns. They come closer to the music; it’s more intimate.”
Come to Humphrey’s prepared for quiet, mystical music that may test your patience but pays off generously in emotional and intellectual gratification. Here is a rare chance to catch two jazz legends: Hancock, who came up through Miles Davis’ mid-1960s band and went on to experiment with electronic instruments and fusions of funk, rock and jazz in the Headhunters; and Shorter, an Art Blakey alumnus who conducted his own fusion experiments in Weather Report.
Davis’ insistence on spontaneity is something that stayed with both players, who say they recorded 1+1 in one intense week, in Hancock’s living-room studio in Los Angeles. Perhaps they’ll bring the same warm, creative vibes to the inviting outdoor stage at Humphrey’s.
Opening for Shorter and Hancock is San Diego saxophonist James Moody, a world-class player and veteran of Dizzy Gillespie’s United Nations Band. This may be Moody’s only San Diego performance this year.
Also at Humphrey’s this month: Sergio Mendes & Brasil ’99 (September 19), Crosby, Stills & Nash (September 22 & 23, probably sold out by press time) and Emerson, Lake & Palmer (September 30). Violinist Stephane Grappelli’s scheduled performance was canceled after he suffered a heart attack early in summer.
Street Scene: Buoyed by new audience-participation events and a stronger lineup, Street Scene ’97, the outdoor music festival to be held downtown September 5-7, should top last year’s attendance of 75,000, according to promoter Rob Hagey. Among “happenings” added to the event: costumed “big head” characters inspired by Mardi Gras in New Orleans; a Day of the Dead celebration; and an Elvis lookalike fest.
Dozens of bands range from big-timers like David Byrne, Kenny Garrett, the Doobie Brothers, the Commodores, the Fabulous Thunderbirds, Joan Osborne, War, Los Lobos, Taj Mahal, Eric Burdon and Felix Cavaliere’s Rascals, to rising locals like Rocket from the Crypt and Buck O’ Nine, plus international acts such as Ivan Lins and Olodum. New swing and ska stages add other spice, and Sunday is family day, with the Fern Street Circus and interactive kids’ programs including large-canvas art.
Tracks: San Diego flutemeister Holly Hofmann has been hard at work. Her new CD, Just Duet, with pianist Bill Cunliffe, is out this month from Azica. She’ll host release parties at the Princess Resort September 5 and 6, where Hofmann regularly appears with top San Diego players Mike Wofford on piano, Bob Magnusson on bass and Jim Plank on drums. Pianist Jeff Hamilton’s trio is at the Princess September 12 and 13 ... San Diego’s Peggy Claire sings torch/cabaret songs at the Horton Grand Hotel downtown, Friday and Saturday nights this month ... Pumped up by her rising fame, Sheryl Crow got sassy with San Diego when she played here last spring. She told one poor guy who handed her a bouquet to get lost, and seemed generally uninterested in relating to her fans. Let’s hope she shows better rock star etiquette when she returns September 7 for a show at Hospitality Point. Wilco opens ... San Diego guitarist Billy Thompson has been highly visible at Humphrey’s this summer. He opened for bluesman Robert Cray May 30 and for the Neville Brothers, August 15. He also continues to anchor Tuesday nights at Blind Melons in Pacific Beach, playing the fine blues-rock-jazz that proves he’s San Diego’s top electric-guitar man.
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