|
The following biography
is from
Wikipedia.org
The
Free Encyclopedia.
Herbert Jeffrey Hancock (born April 12,
1940 in Chicago, Illinois) is an Academy Award and Grammy award-winning
American jazz pianist and composer. Hancock is one of jazz music's most
important and influential pianists and composers. He embraced elements
of rock, funk, and soul while adopting freer stylistic elements from
jazz.
As part of Miles Davis's "second great quintet", Hancock helped redefine
the role of a jazz rhythm section, and was one of the primary architects
of the "post-bop" sound. Later, he was one of the first jazz musicians
to embrace synthesizers and funk. Yet for all his restless
experimentalism, Hancock's music is often melodic and accessible; he has
had many songs "cross over" and achieve success among pop audiences.
Hancock's best-known solo works include "Cantaloupe Island", "Watermelon
Man" (later performed by dozens of musicians, including bandleader Mongo
Santamaria), "Maiden Voyage", "Chameleon", and the single "Rockit" .
****
Background information
Birth name Herbert Jeffrey Hancock
Born April 12, 1940 (1940-04-12) (age 67)
Chicago, Illinois, United States
Genre(s) Jazz fusion, jazz-funk, modal jazz, hard bop, post-bop, electro
Occupation(s) Pianist, keyboardist, flautist, composer, bandleader
Instrument(s) Piano, keyboards, synthesizer, electric piano, flute
Label(s) Blue Note, Warner Bros., Columbia, PolyGram/Mercury, Verve
Website www.herbiehancock.com
****
Early life and career
Like many jazz pianists, Hancock started with a classical music
education; Hancock studied from age seven. His talent was recognized
early, and he played the first movement of Mozart's Piano Concerto No. 5
in D Major at a young peoples concert with the Chicago Symphony at age
eleven.[1]
Through his teens, Hancock never had a jazz teacher. Instead, around
high school age, Hancock grew to like jazz after hearing some Oscar
Peterson and George Shearing recordings, which he transcribed on his own
time, and which developed his ear and sense of harmony. He was also
influenced by records of the vocal group the Hi-Lo's:
..by the time I actually heard the Hi-Lo's, I started picking that stuff
out; my ear was happening. I could hear stuff and that's when I really
learned some much farther-out voicings -like the harmonies I used on
'Speak Like a Child' -just being able to do that. I really got that from
Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major
influence on my harmonic concept... He and Bill Evans, and Ravel and Gil
Evans, finally. You know, that's where it really came from. Almost all
of the harmony that I play can be traced to one of those four people and
whoever their influences were.[2]
Hancock also listened to other pianists, including Don Goldberg (also a
prodigy and a Hyde Park High School classmate), McCoy Tyner, Wynton
Kelly and Bill Evans, and studied recordings by Miles Davis, John
Coltrane and Lee Morgan.
Hancock began his studies as an engineering major at Grinnell College
but switched to music after two years. He left Grinnell one course short
of graduation in 1961, moved to Chicago and began working with Donald
Byrd and Coleman Hawkins, during which period he also took courses at
Roosevelt University. (Grinnell awarded Hancock an honorary Doctor of
Fine Arts degree in 1972).[1][3] The pianist quickly earned a
reputation, and played subsequent sessions with Oliver Nelson and Phil
Woods. He recorded his first solo album Takin' Off for Blue Note Records
in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo
Santamaria with a hit single, but crucially Takin' Off was to catch the
attention of Miles Davis, who was at that time assembling a new band.
Hancock was introduced to Davis by the young drummer Tony Williams, a
member of the new band.
Miles Davis quintet and Blue Note
Hancock received considerable attention when, in May 1963,[1] he joined
Miles Davis's "second great quintet." This new band was essentially
Miles Davis surrounded by fresh, new talent. Davis personally sought out
Hancock, whom he saw as one of the most promising talents in jazz. The
rhythm section Davis organized was young but effective, comprising
bassist Ron Carter, seventeen year old drummer Tony Williams, and
Hancock on piano. After George Coleman and Sam Rivers each taking turns
at the saxophone spot, the quintet would gel with Wayne Shorter on tenor
saxophone. This quintet is often regarded as one of the finest jazz
ensembles, and the rhythm section has been especially praised for its
innovation and flexibility.
The second great quintet was where Hancock found his own unique voice as
a master of jazz piano. Not only did he find new ways to use common
chords, he also popularized chords then rarely used in jazz. Hancock
also developed a unique taste for "orchestral" accompaniment - using
fourths and Debussy-like harmonies, with stark contrasts then unheard of
in jazz.
With Williams and Carter he would weave a labyrinth of rhythmic
intricacy on, around and over existing melodic and chordal schemes. In
the later half of the sixties their approach would be so sophisticated
and unorthodox that conventional chord changes would hardly be
discernible, hence their improvisational concept would become known as
"Time, No Changes."
While in the Davis band, Hancock also found time to record dozens of
sessions for the Blue Note label, both under his own name and as a
sideman with other musicians such as Wayne Shorter, Tony Williams, Grant
Green, Bobby Hutcherson, Sam Rivers, Donald Byrd, Kenny Dorham, Hank
Mobley, Lee Morgan and Freddie Hubbard.
His albums Empyrean Isles (1964) and Maiden Voyage (1965) were to be two
of the most famous and influential jazz LPs of the sixties, winning
praise for both their innovation and accessibility (the latter
demonstrated by the subsequent enormous popularity of the Maiden Voyage
title track as a jazz standard, and by the jazz rap group US3 having a
hit single with "Cantaloupe Island" from Empyrean Isles some twenty five
years later). Empyrean Isles featured the Davis rhythm section of
Hancock, Carter and Williams with the addition of Freddie Hubbard on
cornet, while Maiden Voyage also added former Davis saxophonist George
Coleman (and had Freddie Hubbard on trumpet). Both albums are regarded
as among the principal foundations of the post-bop style.
Hancock also recorded several less-well-known but still critically
acclaimed albums with larger ensembles My Point of View (1963), Speak
Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto
flute and bass trombone. 1963's Inventions and Dimensions was an album
of almost entirely improvised music, teaming Hancock with bassist Paul
Chambers and two Latin percussionists, Willie Bobo and Osvaldo Martinez.
During this period, Hancock also composed the score to Michelangelo
Antonioni's film Blowup which was to be the first of many soundtracks he
would record in his career.
Davis had begun incorporating elements of rock and popular music into
his recordings by the end of Hancock's tenure with the band. Despite
some initial reluctance, Hancock began doubling on electric keyboards
including the Fender Rhodes electric piano at Davis's insistence.
Hancock adapted quickly to the new instruments, which proved to be
instrumental in his future artistic endeavors.
In the summer of 1968, Hancock left Davis's band to form his own sextet,
although he was formally kicked out under the pretext that he was late
coming back from a honeymoon in Brazil. Davis would soon disband his
quartet to search for a new sound himself. Despite his departure from
the working band, Hancock would continue to appear on Miles Davis
records for the next few years; noteworthy appearances include In a
Silent Way, A Tribute to Jack Johnson and On the Corner.
Fat Albert and Mwandishi
Hancock left Blue Note in 1969, signing up with Warner Bros. Records. In
1969, Hancock composed the soundtrack for the Bill Cosby TV show Fat
Albert and the Cosby Kids. Titled Fat Albert Rotunda, the album was
mainly an R&B-influenced album with strong jazz overtones. One of the
jazzier songs on the record, "Tell Me A Bedtime Story," was later
re-worked as a more electronic sounding song for the Quincy Jones album,
"Sounds...and Stuff Like That."
Hancock was fascinated with accumulating musical gadgets and toys.
Together with the profound influence of Davis's Bitches Brew, this
fascination would culminate in a series of albums in which electronic
instruments are coupled with acoustic instruments.
Hancock's first ventures into electronic music started with a sextet
comprising Hancock, bassist Buster Williams and drummer Billy Hart, and
a trio of adventurous horn players: Eddie Henderson (trumpet), Julian
Priester (trombone), and multireedist Bennie Maupin. Dr. Patrick Gleeson
was eventually added to the mix to play and program the synthesizers.
The sextet, later a septet with the addition of Gleeson, made three
experimental albums under Hancock's name: Mwandishi (1971), Crossings
(1972) (both on Warner Bros. Records), and Sextant (1973) (released on
Columbia Records); two more, Realization and Inside Out, were recorded
under Henderson's name with essentially the same personnel. The music
often had very free improvisations and showed influence from the
electronic music of some contemporary classical composers.
Synthesizer player Patrick Gleeson, one of the first musicians to play
synthesizer on any jazz recording, introduced the instrument on
Crossings, released in 1972, one of a handful of influential electronic
jazz/fusion recordings to feature synthesizer that same year. On
Crossings (as well as on I Sing the Body Electric), the synthesizer is
used more as an improvisatory global orchestration device than as a
strictly melodic instrument. This reflected Gleeson's (and Powell's)
interest in contemporary European electronic music techniques and in the
West Coast synthesis techniques of Morton Subotnik and other
contemporaries, several of whom were resident at one time or another, as
was Gleeson, at The Mills College Tape Music Center. An early review of
Crossings in Downbeat magazine complained about the synthesizer, but a
few years later the magazine noted in a cover story on Gleeson that he
was "a pioneer" in the field of electronics in jazz. Gleeson used a
modular Moog III for the recording of the album, but used an ARP 2600
synthesizer, and occasionally an Arp Soloist for the group's live
performances. On Sextant Gleeson used the more compact ARP synthesizers
instead of the larger Moog III for both studio and live performances. In
the albums following The Crossings, Hancock started to play synth
himself and unlike Gleeson, he plays it as a melodical and rhythm
instrument just like electric pianos.
Hancock's three records released in 1971-1973 became later known as the
"Mwandishi" albums, so-called after a Swahili name Hancock sometimes
used during this era (Mwandishi is Swahili for writer). The first two,
including Fat Albert Rotunda were made available on the 2-CD set
Mwandishi: the Complete Warner Bros. Recordings, released in 1994, but
are these days sold as individual CD editions. Of the three electronic
albums, Sextant is probably the most experimental since the Arp
synthesizers are used extensively, and some advanced improvisation
("post-modal free impressionism") is found on the tracks "Hornets" and
"Hidden Shadows" (which is in the meter 19/4). "Hornets" was later
revised on the 2001 album Future2Future as "Virtual Hornets."
Among the instruments Hancock and Gleeson used were Fender Rhodes piano,
ARP Odyssey, ARP 2600, ARP Pro Soloist Synthesizer, a Mellotron and the
Moog III.
All three Warner Bros. albums Fat Albert Rotunda, Mwandishi, and
Crossings, were remastered in 2001 and released in Europe but were not
released in the U.S.A. as of June 2005. In the Winter of 2006-2007 a
remastered edition of Crossings was announced and scheduled for release
in the Spring.
Head Hunters and Death Wish
See also: The Headhunters
After the sometimes "airy" and decidedly experimental "Mwandishi"
albums, Hancock was eager to perform more "earthy" and "funky" music.
The Mwandishi albums though these days seen as respected early fusion
recordings had seen mixed reviews and poor sales, so it is probable
that Hancock was motivated by financial concerns as well as artistic
restlessness. Hancock was also bothered by the fact that many people did
not understand avant-garde music. He explained that he loved funk music,
especially Sly Stone's music, so he wanted to try to make funk himself.
He gathered a new band, which he called The Headhunters, keeping only
Maupin from the sextet and adding bassist Paul Jackson, percussionist
Bill Summers, and drummer Harvey Mason. The album Head Hunters, released
in 1973, was a major hit and crossed over to pop audiences, though it
prompted criticism from some jazz fans.
Despite charges of "selling out", later ears have regarded the album
well: "Head Hunters still sounds fresh and vital three decades after its
initial release, and its genre-bending proved vastly influential on not
only jazz, but funk, soul, and hip-hop." Allmusic.com entry
Mason was replaced by Mike Clark, and the band released a second album,
Thrust, the following year. (A live album from a Japan performance,
consisting of compositions from those first two Head Hunters releases
was released in 1975 as Flood. The record has since been released on CD
in Japan.) This was almost as well-received as its predecessor, if not
attaining the same level of commercial success. The Headhunters made
another successful album (called "Survival of the Fittest") without
Hancock, while Hancock himself started to make even more commercial
albums, often featuring members of the band, but no longer billed as The
Headhunters. The Headhunters reunited with Hancock in 1998 for Return of
the Headhunters, and a version of the band (featuring Jackson and Clark)
continues to play live and record.
In 1973, Hancock composed his second masterful soundtrack to the
controversial film The Spook Who Sat By The Door. Then in 1974, Hancock
also composed the soundtrack to the film Death Wish. One of his
memorable songs, Joanna's Theme, would later be re-recorded in 1997 on
his Wayne Shorter duet album 1 + 1.
Hancock's next jazz-funk albums of the 1970s were Man-Child (1975), and
Secrets (1976), which point toward the more commercial direction Hancock
would take over the next decade. These albums feature the members of the
"Headhunters" band, but also a variety of other musicians in important
roles.
Back to the Basics: VSOP and the Future Shock
During late 1970s and early 1980s, Hancock toured with his "V.S.O.P."
quintet, which featured all the members of the 1960s Miles Davis quintet
except Davis, who was replaced by trumpet giant Freddie Hubbard. There
was constant speculation that one day Davis would reunite with his
classic band, but never did. VSOP recorded several live albums in the
late 1970s, including VSOP (1976), and VSOP: The Quintet (1977).
In 1978, Hancock recorded a duet with Chick Corea, who had replaced him
in the Miles Davis band a decade earlier. He also released a solo
acoustic piano album titled The Piano (1978), which, like so many
Hancock albums at the time, was initially released only in Japan. (It
was finally released in the US in 2004.) Several other Japan-only
releases have yet to surface in the US, such as Dedication (1974), VSOP:
Tempest at the Colosseum (1977), and Direct Step (1978). Live Under the
Sky was a VSOP album remastered for the US in 2004, and included an
entire second concert from the July 1979 tour.
From 1978-1982, Hancock recorded many albums consisting of
jazz-inflected disco and pop music, beginning with Sunlight (featuring
guest musicians like Tony Williams and Jaco Pastorius on the last track)
(1978). Singing through a vocoder, he earned a British hit, "I Thought
It Was You", although critics were unimpressed. [1]. This led to more
vocoder on the 1979 follow-up, Feets, Don't Fail Me Now, which gave him
another UK hit in "You Bet Your Love." Albums such as Monster (1980),
Magic Windows (1981), and Lite Me Up (1982) were some of Hancock's most
criticized and unwelcomed albums, the market at the time being somewhat
saturated with similar pop-jazz hybrids from the likes of former
bandmate Freddie Hubbard. Hancock himself had quite a limited role in
some of those albums, leaving singing, composing and even producing to
others. Mr. Hands (1980) is perhaps the one album during this period
that was critically acclaimed. To the delight of many fans, there were
no vocals on the album, and one track featured Jaco Pastorius on bass.
The album contains a wide variety of different styles, including a disco
instrumental song, a Latin-jazz number and an electronic piece in which
Hancock plays alone with the help of computers.
Hancock also found time to record more traditional jazz whilst creating
more commercially-oriented music. He toured with Tony Williams and Ron
Carter in 1981, recording Herbie Hancock Trio, a five-track live album
released only in Japan. A month later, he recorded Quartet with Wynton
Marsalis, released in the US the following year.
In 1983, Hancock had a mainstream hit with the Grammy-award winning
instrumental single "Rockit" from the album Future Shock. It was perhaps
the first mainstream single to feature scratching, and also featured an
innovative animated music video which was directed by Godley and Creme
and showed several robot-like artworks by Jim Whiting. The video was a
hit on MTV. Regardless of any controversy, the video won 5 different
categories at the inaugural MTV Video Music Awards, including the
category for Video Of The Year. This single ushered in a collaboration
with noted bassist and producer Bill Laswell. Hancock experimented with
electronic music on a string of three LPs produced by Laswell: Future
Shock (1983), Sound-System (1984) and Perfect Machine (1988). Despite
the success of "Rockit," Hancock's trio of Laswell-produced albums
(particularly the latter two) are among the most critically derided of
his entire career, perhaps even more so than his erstwhile pop-jazz
experiments. Hancock's level of actual contribution to these albums was
also questioned, with some critics contending that the Laswell albums
should have been labelled "Bill Laswell featuring Herbie Hancock."
During this period, he appeared onstage at the Grammy awards with Stevie
Wonder, Howard Jones, and Thomas Dolby, in a famous synthesizer jam.
Lesser known works from the 80s are the live album Jazz Africa and the
studio album Village Life (1984) which were recorded with Gambian kora
player Foday Musa Suso. [2] Also, in 1985 he performed as a guest on the
album So Red The Rose by the Duran Duran shoot off group Arcadia. He
also provided introductory and closing comments for the PBS rebroadcast
in the United States of the BBC educational series from the mid-1980s,
Rock School (not to be confused with the most recent Gene Simmons' Rock
School series).
In 1986, Hancock performed and acted in the film 'Round Midnight. He
also wrote the score/soundtrack, for which he won an Academy Award for
Original Music Score. Often he would write music for TV commercials.
"Maiden Voyage", in fact, started out as a cologne advertisement. At the
end of the Perfect Machine tour, Hancock decided to leave Columbia
Records after a 15-plus-year relationship.
As of June 2005, almost half of his Columbia recordings have been
remastered. The first three US releases, Sextant, Head Hunters and
Thrust as well as the last four releases Future Shock, Sound-System, the
soundtrack to Round Midnight and Perfect Machine. Everything released in
America from Man-Child to Quartet has yet to be remastered. Some albums,
made and initially released in the US, were remastered between 1999 and
2001 in other countries such as Magic Windows and Monster. Hancock also
re-released some of his Japan-only releases in the West, such as The
Piano.
1990s and later
After leaving Columbia, Hancock took a break. In 1991, three years after
Perfect Machine was released, his mentor Miles Davis, died. Along with
friends Ron Carter, Tony Williams, Wayne Shorter, and Davis admirer
Wallace Roney, they recorded A Tribute to Miles which was released in
1994. The album contained two live recordings and studio recording
classics with Roney playing Davis's part as trumpet player. The album
won a Grammy for best group album. He also toured with Jack DeJohnette,
Dave Holland and Pat Metheny in 1990 on their Parallel Realities tour,
which included a memorable performance at the Montreux Jazz Festival in
July 1990.
Hancock's next album, Dis Is Da Drum released in 1994 saw him return to
Acid Jazz. 1995's The New Standard found him and an all-star band
including John Scofield, Jack DeJohnette and Michael Brecker
interpreting pop songs by Nirvana, Stevie Wonder, The Beatles, Prince,
Peter Gabriel and others. A 1997 duet album with Wayne Shorter titled 1
+ 1 was successful, the song "Aung San Suu Kyi" winning the Grammy Award
for Best Instrumental Composition, and Hancock also achieved great
success in 1998 with his album Gershwin's World which featured inventive
readings of George & Ira Gershwin standards by Hancock and a plethora of
guest stars including Stevie Wonder, Joni Mitchell and Shorter.
In 2001, Hancock recorded Future2Future, which reunited Hancock with
Bill Laswell and featured doses of electronica as well as turntablist
Rob Swift of The X-Ecutioners. Hancock later toured with the band, and
released a live concert DVD with a different lineup which also included
the "Rockit" music video. Also in 2001, Hancock partnered with Michael
Brecker and Roy Hargrove to record a live concert album saluting Davis
and John Coltrane called Directions in Music: Live at Massey Hall
recorded live in Toronto. The threesome then toured together, and have
toured on and off through 2005.
2005 saw the release of a duet album called Possibilities. It features
duets with Carlos Santana, Paul Simon, Annie Lennox, John Mayer,
Christina Aguilera, Sting and others. In 2006, Possibilities was
nominated for Grammy awards in two categories: "A Song For You,"
featuring Christina Aguilera was nominated in the Best Pop Collaboration
With Vocals category, and "Gelo No Montanha," featuring Trey Anastasio
on guitar was nominated in the Best Pop Instrumental Performance
category. Neither nomination resulted in an award.
Also in 2005, Hancock toured Europe with a new quartet that included
Beninese guitarist Lionel Loueke, and explored textures ranging from
ambient to straight jazz to African music. Plus, during the Summer of
2005, Hancock re-staffed the famous Head Hunters and went on tour with
them, including a performance at The Bonnaroo Music & Arts Festival.
However, this lineup did not consist of any of the original Headhunters
musicians. The group included Marcus Miller, Terri Lyne Carrington,
Lionel Loueke and John Mayer. Hancock also served as the first artist in
residence for Bonnaroo that summer.
Also in 2006, Sony BMG Music Entertainment (which bought out Hancock's
old label, Columbia Records) released the two-disc retrospective The
Essential Herbie Hancock. This two-disc set is the first compilation of
Herbie's work at Warner Bros. Records, Blue Note Records, Columbia and
at Verve/Polygram. This became Hancock's second major compilation of
work since the 2002 Columbia-only "The Herbie Hancock Box" which was
released at first in a plastic 4x4 cube then re-released in 2004 in a
long box set. Hancock also in 2006, recorded a new song with Josh Groban
and Eric Mouquet (co-founder of Deep Forest) titled "Machine". It is
featured on Josh Groban's CD "Awake." Hancock also recorded and
improvised with guitarist Lionel Loueke on Loueke's debut album Virgin
Forest on the ObliqSound label in 2006, resulting in two improvisational
tracks "Le R้veil des Agneaux (The Awakening of the Lambs)" and "La
Poursuite du lion (The Lion's Pursuit)".
Hancock, a longtime associate and friend of Joni Mitchell released a
2007 album, River: The Joni Letters, that paid tribute to her work.
Norah Jones and Tina Turner recorded vocals [4], as did Corinne Bailey
Rae, and Leonard Cohen contributed a spoken piece set to Hancock's
piano. Mitchell herself also made an appearance. The album was released
on September 25, simultaneously with the release of Mitchell's album
Shine.[5] "River" was nominated for a 2008 Album of the Year Grammy
Award, only the second jazz album ever to receive that honor, and is
also up for awards for Best Contemporary Jazz Album and Best
Instrumental Jazz Solo.
Discography
As a leader
Takin' Off (1962) Blue Note
My Point of View (1963) Blue Note
Inventions and Dimensions (1963) Blue Note
Empyrean Isles (1964) Blue Note
Maiden Voyage (1965) Blue Note
Blow-Up (Soundtrack) (1966) MGM
Speak Like a Child (1968) Blue Note
The Prisoner (1969) Blue Note
Fat Albert Rotunda (1969) Warner Bros.
Mwandishi (1970) Warner Bros.
Crossings (1972) Warner Bros.
Sextant (1973) Columbia
Head Hunters (1973) Columbia
The Spook Who Sat by the Door (Soundtrack) (1973)
Thrust (1974) Columbia
Death Wish (Soundtrack) (1974) Columbia
Dedication (1974) Columbia
Man-Child (1975) Columbia
Flood (1975) Columbia live album only released in Japan
Secrets (1976) Columbia
VSOP (1976) Columbia
VSOP: The Quintet (1977) Columbia
VSOP: Tempest at the Colosseum (1977) Columbia
Sunlight (1978) Columbia
Direct Step (1978) Columbia
An Evening with Herbie Hancock & Chick Corea: In Concert (1978)
Columbia
The Piano (1979) Columbia
Feets, Don't Fail Me Now (1979) Columbia
VSOP: Live Under the Sky (1979) Columbia
Monster (1980) Columbia
Mr. Hands (1980) Columbia
Herbie Hancock Trio (1981) Columbia
Magic Windows (1981) Columbia
Lite Me Up (1982) Columbia
Quartet (1982) Columbia
Future Shock (1983) Columbia
Sound-System (1984) Columbia
Village Life (1985) - Columbia (with Foday Musa Suso)
Round Midnight (Soundtrack) (1986) Columbia
Perfect Machine (1988) Columbia
A Tribute to Miles (1994) Qwest/Warner Bros. (with Wallace Roney,
Wayne Shorter, Ron Carter and Tony Williams)
Dis Is Da Drum (1994) Verve/Mercury
The New Standard (1995) Verve
1 + 1 (1997) Verve (with Wayne Shorter)
Gershwin's World (1998) Verve
Mr. Funk (2001) - Columbia
Future2Future (2001) Transparent
Directions in Music: Live at Massey Hall (2002) Verve
Possibilities (2005) Concord/Hear Music
The Essential Herbie Hancock (2006) Columbia/Sony BMG
River: The Joni Letters (2007) Verve
There are also these albums: Cantaloupe Island (CDP724382933120), Jazz
To Funk (AI432) & Piano Genius (QED076)
As a sideman
To Miles Davis:
Seven Steps to Heaven (1963) Columbia (on portions of album)
E.S.P. (1965) Columbia
Miles Smiles (1966) Columbia
Sorcerer (1967) Columbia
Nefertiti (1967) Columbia
Miles in the Sky (1968) Columbia
Filles de Kilimanjaro (1968) Columbia
In a Silent Way (1969) Columbia
A Tribute to Jack Johnson (1970) Columbia
On the Corner (1972) Columbia
Big Fun (album) (1974) - Columbia (on portions of album)
Get Up with It (1974) - Columbia (on portions of album)
Water Babies (1976) (recorded in 1968) - Columbia
To Donald Byrd:
Royal Flush (1961) - Blue Note
Free Form (1961) - Blue Note
A New Perspective (1963) - Blue Note
To Bobby Hutcherson:
Components (1965) - Blue Note
Happenings (1966) - Blue Note
Oblique (1979 Japan Only) - Blue Note
To Jackie McLean:
It's Time (1964) - Blue Note
To Freddie Hubbard:
Hub-Tones (1962) - Blue Note
To Sam Rivers:
Contours (1965) - Blue Note
To Grant Green:
Feelin' the Spirit (1962) - Blue Note
To Lee Morgan:
Search for the New Land (1964) - Blue Note
Cornbread: (1965) - Blue Note
The Procrastinator (1967) - Blue Note
To Kenny Dorham:
Una Mas (1963) - Blue Note
To Joe Henderson:
Power to the People (Milestone 1969)
To Hank Mobley:
No Room For Squares (1963) - Blue Note
To Milt Jackson:
Sunflower (1972) CTI/Columbia
To Wayne Shorter:
Speak No Evil (1964) - Blue Note
Adam's Apple (1966) - Blue Note
Schizophrenia (1967) - Blue Note
Native Dancer (1974) Columbia
Etcetera (1995) - Blue Note
To Grachan Moncur III:
Some Other Stuff (1964) - Blue Note
To Tony Williams:
Lifetime (1964) - Blue Note
The Joy of Flying (1979) Columbia
To Ron Carter:
Third Plane (1996) Columbia
To Terry Plumeri
He Who Lives In Many Places (1971) (original- Airborne) (re-released
in 2007- GMMC)
To/With Quincy Jones:
Sounds...and Stuff Like That (1978) A&M
To/With Quincy Jones and Lesley Gore:
Love Me By Name (1975) - A&M
To Stevie Wonder:
Songs in the Key of Life (1976) - Motown
To Jaco Pastorius:
Jaco Pastorius (1976) - Epic/Legacy (Sony Music)
To Jack DeJohnette:
Parallel Realities (1990, with Pat Metheny and Dave Holland) - MCA
To Miroslav Vitous:
Magical Shepherd (1976) - Warner
To/With Simple Minds:
Synthesizer solo on 'New Gold Dream', track: 'Hunter And The Hunted
To/With Marcus Miller:
Mฒ (2001), plays piano on two tracks (including a solo on Goodbye Pork
Pie Hat)
To/With Lionel Loueke:
Virgin Forest (2006) - ObliqSound - Improvisational duets with [Lionel
Loueke] on two tracks: Le R้veil des Agneaux (The Awakening of the
Lambs) and La poursuite du Lion (The Lion's Pursuit)
Awards
Academy Awards
1986, Original Soundtrack, for Round Midnight
Grammy Awards
1983, Best R&B Instrumental Performance, for Rockit
1984, Best R&B Instrumental Performance, for Sound-System
1987, Best Instrumental Composition, for Call Sheet Blues
1994, Best Jazz Instrumental Performance, Individual Or Group, for A
Tribute to Miles
1996, Best Instrumental Composition, for Manhattan (Island Of Lights And
Love)
1998, Best Instrumental Arrangement Accompanying Vocal(s), for St. Louis
Blues
1998, Best Jazz Instrumental Performance, Individual Or Group, for
Gershwin's World
2002, Best Jazz Instrumental Album, Individual or Group, for Directions
in Music: Live at Massey Hall
2002, Best Jazz Instrumental Solo, for My Ship
2004, Best Jazz Instrumental Solo, for Speak Like a Child
Playboy Music Poll
Best Jazz Group, 1985
Best Jazz Keyboards, 1985
Best Jazz Album - Rockit, 1985
Best Jazz Keyboards, 1986
Best R&B Instrumentalist, 1987
Best Jazz Instrumentalist, 1988
Keyboard Magazine's Readers Poll
Best Jazz & Pop Keyboardist, 1983
Best Jazz Pianist, 1987
Best Jazz Keyboardist, 1987
Best Jazz Pianist, 1988
Other notable awards
MTV Awards (5 awards in total) - Best Concept Video - Rockit, 1983-84
Gold Note Jazz Awards - NY Chapter of the National Black MBA
Association, 1985
French Award Officer of the Order of Arts & Letters-Paris, 1985
BMI Film Music Award "Round Midnight", 1986
U.S. Radio Award "Best Original Music Scoring - Thom McAnn Shoes", 1986
Los Angeles Film Critics Association "Best Score - Round Midnight", 1986
BMI Film Music Award "Colors", 1989
Soul Train Music Award "Best Jazz Album - The New Standard", 1997
Festival International Jazz de Montreal Prix Miles Davis, 1997
VH1's 100 Greatest Videos "Rockit" is "10th Greatest Video", 2001
NEA Jazz Masters Award, 2004
Downbeat Magazine Readers Poll Hall of Fame, 2005
References
^ a b c Dobbins, Bill and Kernfeld, Barry. "Herbie Hancock", Grove Music
Online, ed. L. Macy (accessed 19 February 2007), grovemusic.com
(subscription access).
^ Julie Coryell & Laura Friedman "Jazz-Rock Fusion. The People, The
Music", A Delta Special 1978, ISBN 0-440-04187-2, page 161-162.
^ The tune Dr Honoris Causa written by Joe Zawinul and performed by
Cannonball Adderley's quintet is an ironic celebration of the honourary
degree.
^ Andre Mayer (June 18, 2007). Key figure: An interview with jazz legend
Herbie Hancock. Retrieved on 2007-09-11.
^ http://www.jonimitchell.com/news/index.cfm
****
The
above biography has been copied in part or in whole
from an article on
Wikipedia.org
"The Free Encyclopedia." It has beenmodified under
the GNU Free Document License Section 5 in the
following manner: (1) All links within the article
have been removed, including text links such as
"[#]"; (2) The "[Edit]" text and link have been
removed [if you would like to update the article,
you may do so from the original page]; (3) the table
of Contents links and text have been removed; and
(4) all of the sections of the original article have
not been copied. All of the above text is available
under the terms of the
GNU Free Document License.
URL of Original Article:
http://en.wikipedia.org/wiki/Herbie_Hancock
Date Article Copied:
February 2008
We
will try to replace this article with an original
biography in the near future, but we hope this will
be of help to our visitors in the mean time. |
