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21/04/2004 Gershwin, according to Herbie Hancock
It's one of the marks of a great musician that he or she can transcend different genres. Miles Davis, switching from hard bop to cool, fusion to hip-hop and pop, had it. In spades. Van Morrison has it - blues to country, jump jive to Celtic and rnb. But no one can match the chameleon achievement of George Gershwin, whose badge of honour was that he could - and would - compose in any genre as he saw fit, regardless of anyone's expectations. Thus his masterful legacy is varied like no other - Gershwin tunes dressed up as timeless pop songs, Broadway show scores, piano concertos, and even an opera. Although he died before he was 40, Gershwin left one of the all-time great musical treasure chests. There are thousands of Gershwin recordings. Probably the best known is Ella Fitzgerald's collection of divine Gershwin readings in her Norman Granz-produced Songbook series, on Verve. A much more recent competitor for your headphones has to be Herbie Hancock's outstanding Gershwin's World (also on Verve, 1998). Fourteen tracks (including four by leading Gershwin contemporaries) are given the full Hancock treatment - delightful jazz piano, ranging from aching poignancy to upbeat funk. Hancock is variously accompanied by a galaxy of "A list" collaborators - Wayne Shorter on tenor and Kenny Garrett on alto sax, fellow pianist Chick Corea, as well as vocalists of the calibre of Stevie Wonder, soprano diva Kathleen Battle, and popster Joni Mitchell (about whom, more tomorrow). Gershwin's is great music - in virtually anyone's hands. In this company, its power and beauty is unmissable. Highly recommended.
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