It’s little wonder that one of Herbie Hancock’s most famous tunes is called “Chameleon”: Any newcomer who listens to one of his more abstract piano solos with Eric Dolphy, then to one of his complex compositions of the mid-’60s, which incorporate elements of modal jazz and free jazz, and then to “Headhunters” or another of his funky fusion works of the 1970s (including “Chameleon”) will swear that he is listening to the work of two or three different and equally ingenious musicians.