Herbert Jeffrey " Herbie " Hancock (born April 12, 1940) is a pianist, keyboardist, bandleader, composer and American actor. Starting his career with Donald Byrd, he soon joined Miles Davis Quintet where Hancock helped redefine the role of the rhythm section of jazz and is one of the main architects of post-bop sound. In the 1970s, Hancock experimented with jazz fusion, funk, and electro style.
Hancock's most famous compositions include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo SantamarÃÆ'a), "Maiden Voyage", "Chameleon", and singles "I Thought It Was You" and "Rockit ". Her 2007 tribute album River: The Joni Letters won the Grammy Award 2008 for Album of the Year, only the second-ever award-winning jazz album after Getz/Gilberto in 1965.
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Hancock was born in Chicago, Illinois, the son of Winnie Belle (Griffin), a secretary, and Wayman Edward Hancock, the government's meat inspector. His parents named him after singer and actor Herb Jeffries. She attended Hyde Park Academy. Like many jazz pianists, Hancock began with a classical music education. He studied from the age of seven, and his talent was recognized from the beginning. Considered a child prodigy, he played the first movement of Piano Concerto no. 26 in D Major, K. 537 (Coronation) at a concert of young people on February 5, 1952, with the Chicago Symphony Orchestra. (Led by assistant CSO conductor George Schick) at the age of 11.
Through his adolescence, Hancock never had a jazz teacher, but developed his ears and sense of harmony. He was also influenced by the recording of Hi-Lo's vocal group. He reports that:
"... when I actually heard Hi-Lo's, I started picking up those things: my ears were going on.I could hear things and that's when I actually learned some voicings much farther - like harmony which I use in Talk Like a Child - can only do that.I really got it from Clare Fischer's settings to Hi-Lo's.Clare Fischer is a big influence on my harmonic concept... him and Bill Evans , and Ravel and Gil Evans, finally.You know, that's where it comes from. "
In 1960, he heard Chris Anderson play only once, and asked him to accept him as a student. Hancock often refer to Anderson as his harmonic teacher. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during the period he also took courses at Roosevelt University (he then graduated from Grinnell with a degree in electrical engineering and music Grinnell also he was awarded an honorary Doctor of Art Degree in 1972). Byrd attended the Manhattan School of Music in New York at the time and suggested that Hancock learn composition with Vittorio Giannini, which he did for a short time in 1960. Pianist quickly gained a reputation, and played the next session with Oliver Nelson and Phil Woods. He recorded his first solo album Takin 'Off for Records of Blue Note in 1962. "Watermelon Man" (from Takin' Off ) was to provide Mongo SantamarÃÆ'a with a hit single, but more important to Hancock, Takin 'Off caught the attention of Miles Davis, who at that time assembled the new band. Hancock was introduced to Davis by young drummer Tony Williams, a member of the new band.
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Careers
Miles Davis Quintet (1963-68) and Blue Note Records (1962-69)
Hancock received great attention when, in May 1963, he joined the Second Quartet of Agung Davis. Davis personally looks for Hancock, whom he sees as one of the most promising talents in jazz. The rhythm section held by Davis is young but effective, consisting of bassist Ron Carter, 17-year-old Williams drummer, and Hancock on piano. After George Coleman and Sam Rivers each took turns at the saxophone venue, the quintet was rolled with Wayne Shorter in the saxophone tenor. This quintet is often regarded as one of the best jazz ensemblesyets.
The second great quintet is where Hancock finds his own voice as a pianist. Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestra" accompaniment - using quartz harmony and Debussy-like harmony, with a sharp contrast unheard of in jazz. With Williams and Carter he weaves a labyrinth of rhythmic intricacies, around and above the existing melodic and chordal schemes. In the second half of the 1960s their approach became so sophisticated and unorthodox that conventional chord changes were almost invisible; then their concept of improvisation will be known as "Time, No Change".
While in Davis's band, Hancock also found time to record dozens of sessions for the Blue Note label, both in their own names and as sideman with other musicians such as Shorter, Williams, Grant Green, Bobby Hutcherson, Rivers, Byrd, Kenny Dorham, Hank Mobley, Lee Morgan, and Freddie Hubbard.
His album Empyrean Isles (1964) and Maiden Voyage (1965) were two of the most famous and influential jazz discs of the 1960s, winning praise for innovation and accessibility (most recently demonstrated by the next big popularity of the Maiden Voyage title as a jazz standard, and by the US3 jazz rap group which has hit singles with "Cantaloop" (derived from "Cantaloupe Island" at Empyrean Isles ) about twenty-nine years later). Empyrean Isles featuring Davis rhythms of Hancock, Carter and Williams with Hubbard's addition to the cornet, while Maiden Voyage added a former Coleman saxophonist (with Hubbard left on the trumpet). Both albums are considered one of the main foundations of post-bop style. Hancock also recorded some lesser-known albums but was still critically acclaimed with a larger ensemble - My Point of View (1963), Speak Like a Child (1968) and < i> The Prisoner (1969) features flugelhorn, alto flute and bass trombone. 1963's
During this period, Hancock also compiled a score for Michelangelo Antonioni Blowup (1966), the first of many movie soundtracks he recorded in his career. In addition to the feature film soundtrack, Hancock recorded a number of music themes used on American television commercials for famous products such as Pillsbury's Space Food Sticks, Standard Oil, cola tabs and Virginia Slims cigarettes. Hancock also writes, organizes and does a spy type theme for a series of F. William Free ads for Silva Thins cigarettes. Hancock loved it so much that he wanted to record it as a song, but the agency would not let it. He rewrote harmony, tempo and tone and recorded the song as the song "He Who Lives in Fear" from his 1968 album The Prisoner.
Davis began incorporating elements of rock and popular music into his recording at the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began to double the electric keyboard including the Fender Rhodes electric piano at the urging of Davis. Hancock adapted quickly to a new instrument, which proved important in his future artistic endeavors.
On the pretext that he had returned late from a honeymoon in Brazil, Hancock was fired from the band Davis. In the summer of 1968 Hancock formed his own sextet. However, although Davis immediately dismissed his quintet for a new sound, Hancock, despite his departure from the working band, continues to appear on Davis's note for the next few years. Appearances include In Silent Way , Tribute to Jack Johnson and On the Corner .
Fat Albert (1969) and Mwandishi (1971)
Hancock left Blue Note in 1969, signing a contract with Warner Bros.. Records. In 1969, Hancock composed the soundtrack for the animated television broadcast of Bill Cosby, Hey, Hey, Hey, It's Fat Albert. The music of the soundtrack was then put on Fat Albert Rotunda (1969), the album R & amp; B-inspired with a strong jazz tone. One of the recorded jazz tracks, the moody ballad "Tell Me a Bedtime Story", was then reworked as a more electronic sounding song for Quincy Jones's album Sounds... and Stuff Like That !! (1978).
Hancock became fascinated by collecting musical instruments and toys. Along with the powerful influence of Bitches Brew (/1970) Davis, this fascination will culminate in a series of albums, in which electronic instruments are combined with acoustic instruments.
Hancock's first attempt into electronic music began with a sextet consisting of Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson (trumpet), Julian Priester (trombone), and multirispist Bennie Maupin. Patrick Gleeson was eventually added to the mix to play and program the synthesizer.
The sextet, then septet with the addition of Gleeson, made three albums under the name Hancock: Mwandishi (1971), Crossing (1972) (both in Warner Bros. Records), and < i> Sextant (1973) (released on Columbia Records); two more, Realized and Inside Out , recorded under the name Henderson with essentially the same personnel. Music shows a strong improvisational aspect beyond the mainstream of jazz and shows the influence of electronic music from contemporary classical music composers.
Synthesizer player Gleeson introduced the instrument at Crossing, released in 1972, one of the few influential jazz/fusion electronic recordings to feature the synthesizer that year. At Crossings (as well as in the Weather Report I Sing the Body Electric ), synthesizers are more used as improvised global orchestrator devices than as strict melodic instruments. A preliminary review of the Crossbeat Crossing complained about the synthesizer, but a few years later the magazine recorded in a cover story in Gleeson that he was "a pioneer" in the field of electronics in jazz. In the following albums Crossing , Hancock starts playing his own synth, with the synth taking the melody role.
Hancock's three notes released in 1971-73 came to be known as the "Mwandishi" album, called after the Swahili Hancock name sometimes used during this era ( Mwandishi is Swahili for authors ). The first two, including Fat Albert Rotunda are made available on 2-CD set Mwandishi: Warner Bros. Records. Complete , released in 1994. Of the three electronic albums, Sextant is probably the most experimental because ARP synthesizers are widely used, and some sophisticated improvisations ("post-capital free impressions") are found on tracks "Hornets" and "Hidden Shadows" (which are in meters 19/4). "Hornets" was later revised on the 2001 album Future2Future as "Virtual Hornets".
Among the instruments Hancock and Gleeson used are Fender Rhodes pianos, ARP Odyssey, ARP 2600, ARP Pro Soloist Synthesizer, Mellotron, and Moog synthesizer III.
Third album Warner Bros. Fat Albert Rotunda (1969), Mwandishi (1971), and Crossing (1972), remastered in 2001 and released in Europe but not released in the US in June 2005. In the winter of 2006-7, the Crossing remastered edition was announced and is scheduled to be released in the spring.
From Head Hunter (1973) to < i> Secret (1976)
After the "Mwandishi" album, which is sometimes "roomy" and experimental, Hancock is excited to feature more "unpretentious" and "funky" music. The album's Mwandishi album - although later seen as a respected early fusion record - has seen mixed reviews and bad sales, so it is possible that Hancock is motivated by financial problems as well as artistic anxiety. Hancock is also troubled by the fact that many people do not understand avant-garde music. He explains that he likes funk music, especially Sly Stone music, so he wants to try to make his own funk.
He put together a new band, whom he calls The Headhunter, just guarding Maupin from sextet and adds Paul Jackson bassist, percussionist Bill Summers, and drummer Harvey Mason. The album Head Hunters , released in 1973, was a big hit and crossed over to a pop audience, though it sparked criticism from some jazz fans.
Despite alleged "sells", Stephen Erlewine of AllMusic positively reviews the album among other friendly critics, saying, "Headhunters still sound fresh and vital three decades after the initial release, and the genres-lending have proven to be very influential on not only jazz, but funk, soul, and hip-hop. "
The drummer Mason was replaced by Mike Clark, and the band released their second album, Thrust , the following year, 1974. (A live album from the Japanese appearance, comprising the compositions of the first two Head Hunters released in 1975 as Flood .) It's almost as well-received as its predecessor, if it does not achieve the same level of commercial success. The Headhunter made another successful album titled Survival of the Fittest in 1975 without Hancock, while Hancock himself began making more commercial albums, often featuring band members, but was no longer billed as The Headhunter. The Headhunters reunited with Hancock in 1998 for Return of the Headhunters , and the band's version (featuring Jackson and Clark) continued to play and record.
In 1973, Hancock composed his soundtrack for the controversial film The Spook Who Sat by the Door. Then in 1974, he composed the soundtrack for the first movie Death Wish . One of his memorable songs, "Joanna's Theme", was re-recorded in 1997 on his duet album with Shorter, 1 1 .
Hancock's 1970s jazz-funk albums are Man-Child (1975), and Secrets (1976), leading to a more commercial direction Hancock will take over next decade. These albums featured members of the Headhunter band, but also various other musicians in important roles.
From VSOP (1976-) to Future Shock (1983)
During the late 1970s and early 1980s, Hancock toured with V.S.O.P. quintet, which featured all of Davis's quintet members in the 1960s except Davis, who was replaced by Hubbard's trumpeter. There was constant speculation that Davis would reunite with his classical band, but he never did. VSOP recorded several live albums in the late 1970s, including The Quintet (1977).
In 1978, Hancock recorded a duet with Chick Corea, who replaced him in the band Davis a decade earlier. Hancock also released a solo acoustic piano album, The Piano (1979), which was released only in Japan. (It was released in the United States in 2004.) Other Japanese albums are just Dedication (1974), Tempest VSOP at Colosseum (1977), and Direct Step (1978). VSOP: Live Under the Sky is a remastered VSOP album for the US in 2004 and included the second concert of the tour in July 1979.
From 1978 to 1982, Hancock recorded many jazz and pop music albums that were influenced by jazz, starting with Sunlight (featuring guest musicians including Williams and Pastorius in the last song) (1978). Singing through a vocoder, he gets a British hit, "I Thought It Was You", although critics are not impressed. This led to more vocoders on the next album, Feets, Do not Fail Me Now (1979), which gave him another British hit on "You Bet Your Love".
Albums such as Monster (1980), Magic Windows (1981), and Lite Me Up (1982) are some of Hancock's most criticized albums. Hancock himself has a limited role in several albums, leaving singing, composing, and even producing for others. sir. Hands (1980) is probably an album during this critically acclaimed period. There were no vocals on the album, and one song featured Jaco Pastorius on bass. The album contains a variety of styles, including an instrumental disco, a Latin-jazz number, and an electronic piece where Hancock plays alone with the help of a computer.
Hancock toured with Williams and Carter in 1981, recording the Herbie Hancock Trio, a five-track live album released only in Japan. A month later, he recorded the Quartet with the trumpeter Wynton Marsalis, released in the US the following year. Hancock, Williams, and Carter toured internationally with Wynton Marsalis and his brother, saxophonist Branford Marsalis, in what is known as "VSOP II". This quintet can be heard on the debut album Wynton Marsalis in Columbia (1981). In 1984 VSOP II performed at the Playboy Jazz Festival as a sextet with Hancock, Williams, Carter, Marsalis Brothers, and Bobby McFerrin.
In 1982 Hancock contributed to the album New Gold Dream (81,82,83,84) by Simple Minds, playing a solo synthesizer on the track "Hunter and the Hunted".
In 1983, Hancock had a pop hit with the Grammy-winning "Rockit" singles from the Future Shock album. This is the first jazz hip-hop song and became the national anthem all over the world for breakdancers and for hip-hop in the 1980s. It is the first mainstream single to feature scratching, and also features innovative animated music videos, directed by Godley and Creme and shows some robot-like artwork by Jim Whiting. The video became a hit on MTV and reached No. 1. 8 in the UK. The video won in five categories at the inaugural MTV Video Music Awards. The single ushered in a collaboration with bassist and producer Bill Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: Future Shock (1983), Grammy Award-winning Sound System (1984), and Perfect Machine (1988).
During this period, he appeared onstage at the Grammy Awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in synthesizer jam. Lesser known works from the 1980s are the live album Jazz Africa (1987) and the studio album Village Life (1984), recorded with Gambia Foday Musa Suso kora player. Also, in 1985 Hancock appeared as a guest on So Red the Rose album (1985) by Duran Duran spinoff Arcadia group. He also provided introductory and closing comments for the PBS re-broadcast in the United States of the BBC educational series from the mid-1980s, Rockschool (not to be confused with the latest Gene Simmons' Rock Serial school ).
In 1986 Hancock performed and acted in the movie 'Round Midnight . He also wrote a score/soundtrack, which he won an Academy Award for Original Music Score. His work was productive during the 1980s, and included scores for Soldier's Story (1984), Jo Jo Dancer, Your Calling Life (1986), Action Jackson (1988, with Michael Kamen), Colors (1988), and comedy Eddie Murphy Harlem Nights (1989). Often he will also write music for TV commercials. "Maiden Voyage", in fact, started as a cologne ad. At the end of the Perfect Machine tour, Hancock decided to leave Columbia Records after more than 15 years.
1990s to 2000
After the break after leaving Columbia, Hancock, along with Carter, Williams, Shorter, and Davis fans, Wallace Roney, recorded A Tribute to Miles, released in 1994. The album contains two live recordings and recordings studio song, with Roney playing the part of Davis as a trumpeter. This album won the Grammy for best group album. Hancock also toured Jack DeJohnette, Dave Holland, and Pat Metheny in 1990 on the Parallel Realities tour, which included a show at the Montreux Jazz Festival in July 1990, and scored the 1991 comedy film Livin 'Great, starring Terrence C. Carson.
The next Hancock album, Dis Is da Drum , released in 1994, saw him return to acid jazz. Also in 1994, he appeared on the compilation album Red Hot Organization Stolen Moments: Red Hot Cool . This album, intended to raise awareness and funding in support of the AIDS epidemic in relation to the African-American community, is heralded as "Album of the Year" by Time Magazine.
1995's The New Standard found Hancock and all-star bands including John Scofield, DeJohnette and Michael Brecker, interpreting pop songs by Nirvana, Stevie Wonder, The Beatles, Prince, Peter Gabriel and others.
The 1997 duet album with Shorter, titled 1 1 , was successful; song "Aung San Suu Kyi" won the Grammy Award for Best Instrumental Composition. Hancock also achieved great success in 1998 with his album Gershwin World , featuring a standard reading of George and Ira Gershwin by Hancock and a host of guest stars, including Wonder, Joni Mitchell and Shorter. Hancock toured the world to support the Gershwin World with sextet featuring Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson.
2000 to 2009
In 2001 Hancock recorded Future2Future , which united Hancock with Laswell and featured doses of electronica and turntablist Rob Swift of The X-Ecutioners. Hancock then toured with the band, and released a concert DVD with a different lineup, which also included the music video "Rockit". Also in 2001 Hancock partnered with Brecker and Roy Hargrove to record a live concert album that salutes Davis and John Coltrane, titled Direction in Music: Live at Massey Hall , recorded live in Toronto. Threesome toured to support the album, and toured on-and-off until 2005.
2005 saw the release of a duet album called Possible . It featured duets with Carlos Santana, Paul Simon, Annie Lennox, John Mayer, Christina Aguilera, Sting and others. In 2006 Possible was nominated for Grammy Awards in two categories: "A Song for You" nominated for Grammy Award for Best Pop Instrumental Performance, and "Gelo No Montanha" (featuring Trey Anastasio on guitar ) was nominated for a Grammy Award for Best Instrumental Performance, although no nominations earned the award.
Also in 2005 Hancock toured Europe with a new quartet that included guitarist Beninese Lionel Loueke, and explored textures ranging from ambient to straight jazz to African music. Plus, during the summer of 2005, Hancock reorganized Headhunters and went on tour with them, including performances at The Bonnaroo Music & amp; Art Festival. This lineup does not consist of original Headhunter musicians. The group includes Marcus Miller, Carrington, Loueke, and Mayer. Hancock also served as the first artist at the Bonnaroo residence that summer.
Also in 2006 Sony BMG Music Entertainment (which purchased the old label Hancock, Columbia Records) released a two-disk retrospective of The Essential Herbie Hancock . This set is the first compilation of his work in Warner Bros, Blue Note, Columbia, and Verve/Polygram. It became Hancock's second major compilation work since 2002. The first Herbie Hancock Box, originally released in plastic 4Ã,ÃÆ' â € "4 cubes was then re-released in 2004 in a long box set. Also in 2006, Hancock recorded a new song with Josh Groban and Eric Mouquet (co-founder of Deep Forest), entitled "Machine". This is displayed on the Groban CD Awake . Hancock also recorded and improvised with Loueke's guitarist Loueke's 1996 debut album Virgin Forest , on the ObliqSound label, producing two improvised songs - "Le RÃÆ'Â © ve veil de agneaux (The Awakening of the Lambs)" and " La Poursuite du lion (Lions Chase) ".
Hancock, an old colleague and friend of Mitchell, released the 2007 album, River: The Joni Letters , which rewarded his work, with Norah Jones and Tina Turner, adding vocals to the album, as did Corinne Bailey Rae. Leonard Cohen donated a piece of oral to the Hancock piano. Mitchell himself also appeared. The album was released on September 25, 2007, along with the launch of Mitchell's latest album at that time: Shine . River won the Grammy Award 2008 Album of the Year. The album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for Best Instrumental Jazz Solo. It's only the second time in history that a jazz album has both Grammy's.
On June 14, 2008, Hancock performed with others at Rhythm on the Vine at the South Coast Winery in Temecula, California, for Shriners Hospitals for Children. The event generated $ 515,000 for Shriners Hospital.
On January 18, 2009, Hancock performed at the We Are One concert, marking the commencement of the inaugural celebration for US President Barack Obama. Hancock also featured Rhapsody in Blue at the 2009 BRIT Awards Classic with classic pianist Lang Lang. Hancock was named the Los Angeles Philharmonic creative seat for jazz for 2010-12.
His latest work includes helping with the production of the song "RoboCop" Kanye West, found on 808s & amp; Heartbreak .
2010 to present
Pada Juni 2010 Hancock merilis The Imagine Project .
On June 5, 2010 he received an Alumni Award from his alma mater, Grinnell College. On July 22, 2011, at a ceremony in Paris, he was appointed as the UNESCO Honorary Ambassador to promote Intercultural Dialogue. In 2013 Hancock joins the University of California, a Los Angeles faculty as a professor in the UCLA music department where he will teach jazz.
On December 8, 2013 he was given the Kennedy Center Honors Award for achievements in performing arts with artists such as Snoop Dogg and Mike Mixmaster of Beastie Boys featuring his music.
He appeared on the album You're Dead by Flying Lotus, released in October 2014.
Hancock is Professor of Poetry Charles Eliot Norton 2014 at Harvard University. The seat holder presents a series of six lectures on poetry, "The Norton Lectures", poetry "interpreted in the broadest sense, including all poetic expressions in language, music, or art." Norton's lecturers previously included musicians Leonard Bernstein, Igor Stravinsky and John Cage. Hancock's theme is "The Ethics of Jazz."
The next Hancock album is produced by Terrace Martin, and will feature a variety of jazz and hip-hop artists including Wayne Shorter, Kendrick Lamar, Kamasi Washington, Thundercat, Flying Lotus, Lionel Loueke, Zakir Hussein and Snoop Dogg.
On May 19, 2018, Hancock received an honorary degree from the Rensselaer Polytechnic Institute.
Personal life
Nichiren Buddhism
Source of the article : Wikipedia
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