A New Kind Of Power Trio
The theory behind Herbie Hancock’s 1996 album The New Standard was sound: contemporary pop-rock songs can facilitate jazz improvisation in much the same way as older standards like “Night and Day” and “Body and Soul,” even if their harmonic makeup provides less to work with. But in practice Hancock’s bland renditions of the Beatles’ “Norwegian Wood (This Bird Has Flown),” Prince’s “Thieves in the Temple,” and Babyface’s “When Can I See You Again” amounted to just another calculated attempt to attract a younger audience to jazz....