Quote

I like to be on the edge, on the cutting edge, or be into the unknown, into the territory where I have to depend on being in the moment and depending on my instincts.

Herbie Hancock

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Herbie Hancock
Age: 84
Born: 1940
Born: April 12
Actor
Bandleader
Conductor
Film Score Composer
Jazz Musician
Jazz Pianist
Keyboardist
Musician
Pianist
Singer-Songwriter
Chicago
Illinois
Herbert Jeffrey Herbie Hancock
Herbert Jeffrey Hancock
Instinct
Cutting
Depending
Depends
Instincts
Moment
Territory
Moments
Depend
Like
Edge
Unknown
Edges

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I'm one of the people who was a pioneer in encouraging musicians, early in the game, to get interested in technology, and now all the musicians are getting into it.
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It's not exclusive, but inclusive, which is the whole spirit of jazz.
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Like no matter what happens, this would be the ultimate, they can make something positive happen.
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I've been curious ever since I was a little kid.
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I've always been interested in science. I used to take watches apart and clocks apart, and there's little screws, and a little this and that, and I found out if I dropped one of them, that thing ain't gonna work.
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Oscar Peterson is the greatest living influence on jazz pianists today.
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One of the greatest experiences I ever had was listening to a conversation with Joni Mitchell and Wayne Shorter. Just to hear them talking, my mouth was open. They understand each other perfectly, and they make these leaps and jumps because they don't have to explain anything.
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I'm aware that a lot of what is happening in jazz has not had a very dynamic change in a long time.
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You make different colors by combining those colors that already exist.
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Jazz has borrowed from other genres of music and also has lent itself to other genres of music.
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The music becomes something that is its own entity.
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It's not the style that motivates me, as much as an attitude of openness that I have when I go into a project.
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So in other words, we were constantly challenged to grow, and thats what a master does.
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The first thing I ever heard about synthesizers, they were being used in rock.
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Jazz translates the moment into a sense of inspiration for not only the musicians but for the listeners.
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I spent five years, at least, working with Miles. Together, we recorded ESP, Nefertiti, Sorcerer -- and I can tell you each of these albums instantly became jazz classics. Hey, we had Wayne Shorter playing tenor sax, Ron [Carter] on bass, Tony Williams played drums. That was great band we had.
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I don't mind being classified as a jazz artist, but I do mind being restricted to being a jazz artist. My foundation has been in jazz, though I didn't really start out that way. I started in classical music, but my formative years were in jazz, and it makes a great foundation.
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In World War II, jazz absolutely was the music of freedom, and then in the Cold War, behind the Iron Curtain, same thing. It was all underground, but they needed the food of freedom that jazz offered.
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I don't think there are any pure Africans of the African Americans, but the African part of our history was pretty much taken away from us during slavery, so the 60s gave us a chance, because of the civil rights movement, to kind of re-examine and make some sort of formal connection to our African-ness.
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I feel a lot more secure about the directions I take, than I might have, had I not practiced Buddhism.
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