Music review: Lang Lang and Herbie Hancock at the Hollywood Bowl

 

A year ago, Lang Lang fit right in as one of the stars of the historically gaudy opening ceremonies for the Olympic Games in Beijing. Estimates of television viewers worldwide have ranged from 1 billion to 4 billion, obviously some kind of record.

Friday, in the first of a two-night stint, Lang Lang appeared at the 17,376-seat Hollywood Bowl, which was about half-filled. Still, the stellar Chinese pianist has moved up in the world.

Lang’s fans were no doubt in boxes and bleachers. But the yells were all, “We love you, Herbie.” A 27-year-old piano peacock and 69-year-old Herbie Hancock, a revered jazz pianist and composer, were the evening’s odd couple. Joined by the Los Angeles Philharmonic conducted by John Axelrod, the soloists played Vaughn Williams Concerto for Two Pianos, a bit of jazz and a two-piano “Rhapsody in Blue” blowout. Hancock was the master; Lang Lang, the cute, overeager undergraduate. There remains hope for a young musician with extraordinary gifts -- and concern.

The collaboration, begun as a Grammy invention on the 2008 show, grew into an international tour this summer concluding at the Hollywood Bowl. The concert also marked the beginning of Hancock’s L.A. Philharmonic appointment as creative chair for jazz.

First things first, Hancock, who is classically trained but who has avoided that repertory for nearly five decades in public, proved an eloquent pianist by any standard. His technique is sure. He exhibits a revelatory of color. He phrases with grace. He plays from what appears a deep center, and in that regard, he is Lang Lang’s opposite. I find it hard to believe that he doesn’t, in private, still practice to keep up his classical chops.
 
Vaughn Williams Concerto for Two Pianos was a strange choice to begin the program -- actually it opened with Axelrod leading a perfunctory performance of Mozart’s “Marriage of Figaro” Overture. The 1946 score was the British composer’s attempt to salvage a savagely difficult 1930 piano concerto that was thought all but unplayable. Instead Vaughn Williams produced an even more impractical concerto that still didn’t catch on, now requiring not one but two exceptional soloists apparently in the theory that, as Orrin Howard surmised in the Bowl program note, “two virtuosos are better than one.”

In fact, the concerto is a find. Hancock and Lang tore into it Friday, making much of the swirling first movement, capturing the shimmering British countryside quiet of the slow Romanza and knocking out the fugal Finale with tremendous élan. There was not, here, a lot of room for individuality, but in the Romanza, Hancock’s collected cool and Lang’s gorgeous sparkle made for a stunning combination.

After intermission, following another perfunctory Philharmonic opener (Leonard Bernstein’s “Mambo” from “West Side Story”), Lang overacted a performance of Liszt’s Third Liebestraum. The two pianists attempted a brief, awkward duo improvisation on Chinese folk themes. On his own, Hancock owned the stage stringing together “Cantaloupe Island,”  “Dolphin Dance,” “Maiden Voyage” and other of his tunes into a flowing, Impressionist improvisation.

Then “Rhapsody in Blue.” Some critics have taken exception to Lang and Hancock's  two-piano arrangement of the solo line. They take license, adding long improvisations in the middle. But they have fun. Hancock, especially, breathes new life into the score with a little counterpoint here, a great unexpected flourish there, moments of pure inspiration. Michele Zukovsky got a whooping appreciation from the crowd for her juicy clarinet glissando at the start.

Lang, of course, can go too far. In his tight white suit and flowing scarf, he appeared, at his worst, like Liberace, Horowitz and Danny Kaye rolled into one unholy mess. But when his Lisztian/Liberacian repeated notes in the “Rhapsody” got out of hand, Hancock musically slapped him down like a loving musical Zen master.

Many of us are troubled by how excessive fame has hampered Lang’s artistic growth. But I, at any rate, take hope from the fact that he seeks out mentors of the likes of Herbie Hancock. A jazz great’s magisterial appearance on this Bowl outing also bodes extremely well for his new Los Angeles Philharmonic association and his collaborations with Gustavo Dudamel.

-- Mark Swed

Photo: Pianists Lang Lang, left, and Herbie Hancock taking a bow together during their concert with the Los Angeles Philharmonic at the Hollywood Bowl on Friday night. Credit: Anne Cusack/ Los Angeles Times

Comments

[annette gerlach]

Too bad your review is so perfunctory. (Is that the only word you know?) Would be better to have something intelligent to write about a conductor with élan who made the LA Phil sparkle with Mozart and Swing with Bernstein.

[Jesse Markowitz]

Are you simply biased or objective? Maybe others should read this:

Classical and jazz music are often viewed with suspicion, largely due to the elitism that's associated with their listeners. Lang Lang and Herbie Hancock are perhaps the biggest superstars in these genres, respectively, and reactions to their current tour only reinforce the sense that classical and jazz aficionados can be too uptight for their own good. A quick Google News scan for mentions of the tour, which came to Toronto's Massey Hall Wednesday night, reveals review after review peppered with judgements like "excruciating," "banal," and "nose-dive"—words that inadvertently reveal their authors as holding on for dear life to staid expectations of what the music should sound like.

Perhaps displays of individual expression, such as Hancock's daring use of space (no doubt learned from the great master, and Hancock's old boss, Miles Davis) during Ralph Vaughan Williams' double concerto, or prodigy Lang Lang's eccentric flailing of his arms during heated moments, don't sit right with many of these critics: like many in the classical and jazz communities at large, they are listeners with baggage, sagging under the weight of familiarity taken too much to heart. Thankfully, the thunderous applause and consistent standing ovations from the near-capacity crowd revealed listeners that were eager to be wowed by whatever it was—familiar or not—these musical giants had to offer. Of course, it didn't hurt that they were backed up by conductor extraordinaire John Axelrod, as well as Toronto's most treasured orchestral musicians, most of whom can be found year-round performing as members of the Toronto Symphony Orchestra.

The program explored every configuration possible for two pianists. The trance-inducing quiet of Maurice Ravel's "Mother Goose Suite" was for "four hands" (one piano, two pianists). Chinese composer Yiquang Sun's piece "Spring Dance," by contrast, was for two pianos. Over the course of the performance each pianist also took a turn displaying his solo chops: one of the show's highlights came when Herbie Hancock took his time improvising, vaguely alluding to his own well known compositions "Cantaloupe Island," "Dolphin Dance," and "Maiden Voyage." (Note: the fact that Hancock has never recorded an improvised solo piano album is a crime.)

It was clear the local orchestra musicians were enthusiastic—this gig surely being a highlight of any musician's career—as during the solo and duo parts of the show many of them could be spotted, in most unconventional fashion, sitting on steps in the aisles throughout the balcony. Even Axelrod suspended classical concert etiquette and relaxed in one of the violinist's chairs during some of these interludes, finding himself an irresistible front-and-centre seat from which he could appreciate the two stars. Such obvious displays of passion help break down the barrier between audience and performer and thereby assist in overturning the perceived rigidity that surely keeps classical and jazz audiences from growing.

The show's finale brought the orchestra back to the stage for a two-piano-and-orchestra arrangement of George Gershwin's majestic "Rhapsody In Blue"—the composition that first brought the duo together at last year's Grammy Awards. This was the piece that really displayed the joy these musicians feel while playing, and the sense of adventure they exuded brought about a complete reworking of the familiar piece, which as a result unraveled so surprisingly that even the page turner was at a loss. (Luckily, Axelrod was so on the ball that he was able to subtly motion for her to turn the page.) The keen ears in the audience were able to calculate just how far out Hancock and Lang Lang were taking their solos, and it quickly became clear that the size of Axelrod's grin, as he watched his pianists, was in direct proportion to how outrageous they were being. A lesser conductor would have faltered under the pressure of so much improvisation in an otherwise non-improvisational form. Despite the daring liberties, the musicians nailed this piece, and in doing so, they brought to Massey Hall the spirit of George Gershwin, the legacy of black America, the impeccable standards of classical music, and—if we may be so idealistic—a universal quest for beauty in this world. Those who were there to bear witness will remember it gratefully, and the welcome number of young people in attendance will one day tell their grandchildren that they heard Lang Lang and Herbie Hancock play "Rhapsody In Blue" at Massey Hall, and it was beautiful.

[Donald Frazell]

China has become a classical pianist factory, like everything else it does. Great sparkle, but no depth. This could be said about all the prodigies coming out lately. And as classical music is basically dead as a creative art form, it needs someone who can interpret some life into it. Trained musicians are just that, trained, like monkeys in sterile environments who lack any strong connection and understanding of life. . Hancock was creating great music at an age far younger than this man, you are who you are by 25. You may adapt and grow, but the kernal must be there already.

I hope Hancock and other jazz musicians come out and start showing what music is to the old geezers. Marsalis in NY sticks to the jazz songbook too much, or goes classical, but little passinante creativity. Interpretation, yes, he is more classical than jazz. He is too seperate from life now, entreneced in the sterilities of academia.I hope he gets Wayne Shorter to come out and play, Hubert Laws, even Chick Corea, who does get too bombastic himself at times.

New times are here, and something different will soon arise in all art forms, probably from parts of the world not controlled by corporations and corrupted like here and Europe. South America is a good bet. Neither European classical or American jazz in essence, but built of the two in background, as most jazz musicians understand the Euro tradition quite well. Someone like Cassandra Wilson showed a way with old folk songs, and new ones, done with Betty Carters incredible musicality, but a more gorgeous voice.

The music industry needs to let youth grow on their own, once they get their manipulative gready hands on them, its over. no one gets to develop and live life anymore, they are snatched up as commodities and trained out of any feeling for the mundane existence of life, as well as the peaks and valleys. And how to handle failure and sorrow. They are all Pavlovian trained, as are the audiences, who seek what they are told to seek, instead of straight up feeling the music, and how it connects them to life and living it intensely. Truthfuly. rather than all bells and whistles of the marketing forces that now rule through materialist goals, true Purpose is lacking. And so treasured when truly found. Hasnt been an Anselm Kiefer in decades, not since Jaco Pastorius has there been a true genoius in music, who Herbie played with on his incredible first album, a true classic.

Enjoy these who have proven thenselves, but leave kids like this guy was alone, they have been retarded by the very people who trained and promote them, they never have chance. While there are always exceptions that prove the rule, this may not be one of those fields, the stakes and training are too high. One can only hope, but most genius come out of left field, unknown, when already fully formed, and able to musically relate life before they have been whisked away in town cars and seperated from the source of all art, life. Defining humanity, exploring nature, and searching for god is the core of all creative art, that cannot be done in the world of "success", All true artists keep to themselves, til their days is over, and they can simply enjoy the fruits of their labor, I wish that on them all, whoever they may be. But it has been a long, long time. One must ask, why?

Art Collegia Delenda Est

[Laurie Johnson]

I think the reviewer was not at the concert.

Something new and challenging, shows growth and new paths. It was nothing but inspirational. Beautiful evening, beautiful location and a wonderful spiritual path of music.

Wow, the talent.

[p'tit louis Tahiti]

Hello , I crossed the Pacific to listen the two masters Herbie Hancock and
Lang Lang having fun ,pleasure to send us the Magie of their music, and
coming back to Tahiti , I read a marmelade of discours 'empoulé" writen by
a "célèbre" unknown critic guy ! I hope mister Herbie Hancock don't read
this kind of " bêtises prétentieuses' P'tit louis Jazz musician.

[Donald Frazell]

Euro music and American have had a mutual admiration society for decades, I remember Isaac Pearlman and another violinist on a TV show with Dizzy Gillespie. The classisicst tone poured out, but had no idea where to go. They admired the freedom of the jazz musician, but do have incredible skills at their fingertips. Pianists like Horowitz regularly went to hear jazz monsters like Art Tatum and Oscar Peterson, but then, Vlad was of that last generation for whom Euro musics were still alive, and reflected their time.

American musicians went to live in Europe for decades, where they found the admiration they deserved, and allowed the freedoms denied here. New art forms seldom find acceptance in their countries of birth, while they are actually extending tradition, and allowing it to grow in new era's, they are often called anarchists and enemies by teh status quo at home. Here also, Picasso, Braque and Matisse found most of their buyers in Germans, Russians, and Americans, not French and Spanish.

Cuba is fertile found for new musics, though we know that as soon as the walls fall, the talent scouts will rush in and take all they can, the carnivorous parasites they are. To corrupt and train to societies desires, not their needs. A slap in the face to wake up is needed, and such things nevere come from the laboratoies of the rich, the art and music academies who turn out droves of new "talent", trained to amuse their patrons.

. Those like Hancock and even earlier Coltrane and Miles left schools early, to learn from the masters, Miles with Bird, Hancock with the vast array of talent in his generation and then Miles himself. Most had lives before music stardom, and so had something to say. Music and visual arts are languages in themselves, without the words which are mutatable and tend to corrupt. Dont listen to those who offer, for they are truly takers, learn on your own. Its the only way. Poor LingLing, sounds like a panda, never had a chance.

Art and Purpose, Imperial Clothing,
Art must return to its source, humanity, nature and god
As in the movie All That jazz, art and music have gotten to the point, decades ago, where it doesnt know where the BS ends, and reality begins.

Art Collegia Delenda Est

[Webmaster -- Fullerton Friends of Music]

Being classically rooted in my musical tastes, my take on the Saturday evening event was mixed.

John Alexrod brought good vitality to the Mozart Le Nozze Di Figaro Overturne and the Mambo from Bernstein's West Side Story. Truly the underrated star of the show along with LAPO when one considers the great conducting and orchestral support the VW Double Concerto and The Rhapsody in Blue performances received.

Was quite impressed that Lang Lang and Herbie Hancock chose to play the Vaughan Williams Double Concerto; a first hearing of this challenging work for me and a refreshing change from the norm of Classical Warhorses. I agree with Mr. Swed that this work is a difficult piece to play. Impressively performed by the two gifted pianists!

I did feel that The Rhapsody in Blue interpretation by the duo was a bit artistically indulgent; and as a result detracted from the artistic intent and scored brilliance of the Gershwin work. The work's spirit suffered here as a result of the excessive improvisation, which bordered on the convoluted.

Glad to hear the full version of the Rhapsody as opposed to the condensed TV version played at the Grammy Awards show.

Would have liked to hear the Ravel Ma Mere L'Oye Suite for 2 Pianos as documented in the printed HB program, but omitted from the actual performance (probably due to time constraints and to allow the guest encore performance by Josh Grobin). This familiar work would have been a great exhibit of obviously two great pianistic talents.

If the goal of the program was a "Marriage of Jazz and Classical Music" (as Mr. Alexrod discussed during the concert introduction), the concert was indeed a successful exhibition of joining the two diverse musical forms.

With the addition of the Ravel work and a truer interpretation of the Gershwin work; it could have been an even better concert for my tastes.

[marcaross]

I was there Friday.

The music, the setting and the performances were exceptional.

One should not take themselves too seriously when reviewing music - it may be the reason why the place was half full for such talented musicians.

[James Bassel]

I was there on Friday. When Lang Lang and Herbie Hancock was dueling it out on the pianos with "Rhapsody In Blue," the winner was the audience. It was great!.

[nancy chuda]

Other worldly! Hancock and Lang Lang proved that there is no age difference when it comes to brilliant musical dexterity. I was spellbound by their interpretation of Rhapsody in Blue-- like a subway ride you never wanted to end.
Uptown, downtown, cross town,their counterpoint and magical dueling crescendos sent chills up and down my spine.