Jump to content

Herbie Hancock: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
m Reverted edits by 170.211.231.130 (talk) to last version by Woohookitty
←Replaced content with 'He likes men.'
Line 1: Line 1:
He likes men.
{{Infobox musical artist <!-- See Wikipedia:WikiProject Musicians -->
|Name = Herbie Hancock
|Img = Herbie Hancock.jpg
|Img_capt = Hancock playing a [[Roland]] AX-7 [[keytar]]; Herbie Hancock Quartet at [[the Roundhouse]], Camden, London, 2006
|Img_size =
|Landscape = no
|Background = non_vocal_instrumentalist
|Birth_name = Herbert Jeffrey Hancock
|Alias =
|Born = {{birth date and age|mf=yes|1940|4|12}}<br /><small>[[Chicago, Illinois|Chicago]], [[Illinois]]<br />[[United States]]</small>
|Spouse = Gigi Hancock
|Instrument = [[piano]], [[synthesizer]], [[organ (music)|organ]], [[clavinet]], [[keytar]], [[vocoder]]
|Genre = [[jazz]], [[bebop]], [[post bop]], [[jazz fusion]], [[hard bop]], [[jazz-funk]], [[funk]], [[R&B]], [[electro music|electro funk]], [[classical music|classical]]
|Occupation = [[musician]], [[composer]], [[bandleader]]
|Years_active = 1961–present
|Label = [[Columbia Records|Columbia]], [[Blue Note Records|Blue Note]], [[Verve Records|Verve]]/[[Polygram Records|Polygram]], [[Warner Bros. Records]], [[Sony BMG Music Entertainment]]
|Associated_acts = [[Miles Davis Quintet]], [[Jaco Pastorius]], [[Stevie Wonder]]
|URL =
}}
'''Herbert Jeffrey "Herbie" Hancock''' (born April 12, 1940, in [[Chicago, Illinois|Chicago]], [[Illinois]]) is an [[United States|American]] [[pianist]], [[bandleader]] and [[composer]].<ref name="Answers/bio">{{cite web|url=http://www.answers.com/topic/herbie-hancock|title=Britannica Concise Encyclopedia: Herbie Hancock|coauthors=Answers.com|year=2010|work=Herbie Hancock Biography|publisher=Answers Corporation|accessdate=1 July 2010}}</ref> 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. He was one of the first jazz musicians to embrace [[synthesizer]]s and funk. Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among [[pop music|pop]] audiences. His music embraces elements of [[funk]] and [[soul music|soul]] while adopting freer stylistic elements from [[jazz]]. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of [[Claude Debussy]] and [[Maurice Ravel]].

Hancock's best-known solo works include "[[Cantaloupe Island]]", "[[Watermelon Man (composition)|Watermelon Man]]" (later performed by dozens of musicians, including bandleader [[Mongo Santamaría]]), "[[Maiden Voyage (composition)|Maiden Voyage]]", "[[Chameleon (composition)|Chameleon]]", and the singles "[[I Thought It Was You (Herbie Hancock song)|I Thought It Was You]]" and "[[Rockit]]". His 2007 [[tribute album]] ''"[[River: The Joni Letters]]"'' won the 2008 [[Grammy Award for Album of the Year]], only the second [[jazz]] [[album]] ever to win the [[award]] after [[Getz/Gilberto]] in 1965.

As a member of [[Soka Gakkai]], Hancock is an adherent of the [[Nichiren Buddhism|Nichiren]] school of [[Mahayana Buddhism]].<ref>http://www.beliefnet.com/Faiths/Buddhism/2007/10/Herbie-Fully-Buddhist.aspx</ref> <ref>{{cite news| url=http://articles.latimes.com/2008/feb/24/entertainment/ca-hancock24 | work=The Los Angeles Times | title=He's still full of surprises | first=Greg | last=Burk | date=February 24, 2008}}</ref>

==Early life and career==
Hancock was born in Chicago, Illinois. Like many jazz pianists, Hancock started with a [[classical music]] education; Hancock studied from age seven. His talent was recognized early. Considered a [[child prodigy]],<ref name="Answers.com/influences">{{cite web|url=http://wiki.answers.com/Q/Who_influenced_Herbie_Hancock&src=ansTT|title=Who influenced Herbie Hancock?|coauthors=Wikianswers|year=2010|work=Answers.com|publisher=Answers Corporation|accessdate=1 July 2010}}</ref> he played the first movement of [[Wolfgang Amadeus Mozart|Mozart]]'s [[Piano Concerto No. 5 (Mozart)|Piano Concerto No. 5]] at a young people's concert with the [[Chicago Symphony Orchestra|Chicago Symphony]] at age eleven.<ref name="grove">{{GroveOnline|Herbie Hancock|Dobbins, Bill and Kernfeld, Barry|19 February|2007}}</ref>

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 in 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]]:

<blockquote>
..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 [[Maurice Ravel|Ravel]] and [[Gil Evans]], finally. You know, that's where it music after two years.
</blockquote>
In 1960, he heard [[Chris Anderson (piano)|Chris Anderson]] play just once, and begged him to accept him as a student.<ref name="Mapleshade testimonial">{{cite web|url=http://www.mapleshaderecords.com/cds/56922.php|title=CHRIS ANDERSON|work=Review of ''Love Locked Out''|publisher=Mapleshade Music|accessdate=1 July 2010}}</ref> Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell, moved to Chicago and began working with [[Donald Byrd]] and [[Coleman Hawkins]], during which period he also took courses at [[Roosevelt University]]. (He later graduated from Grinnell, who also awarded him an honorary Doctor of Fine Arts degree in 1972).<ref name="grove" /><ref>The tune '''Dr Honoris Causa''' written by [[Joe Zawinul]] and performed by [[Cannonball Adderley]]'s quintet is an ironic celebration of the honorary degree.</ref> [[Donald Byrd]] was attending the [[Manhattan School of Music]] in New York at the time and suggested that Hancock study composition with [[Vittorio Giannini]], which he did for a short time in 1960. 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 (composition)|Watermelon Man]]" (from ''Takin' Off'') was to provide [[Mongo Santamaría]] with a hit single, but more importantly for Hancock, ''Takin' Off'' caught 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,<ref name="grove" /> 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]], 17-year-old drummer Tony Williams, and Hancock on piano. After [[George Coleman]] and [[Sam Rivers]] each took a turn 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 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 "orchestral" accompaniment - using [[quartal harmony]] and [[Debussy]]-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the later half of the sixties their approach became so sophisticated and unorthodox that conventional [[chord progression|chord changes]] would hardly be discernible; hence their improvisational concept would become known as "Time, No Changes".{{cite}}

While in the Davis' band, Hancock also found time to record dozens of sessions for the [[Blue Note Records|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 [[LP (format)|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 "[[Cantaloop]]" (derived from "Cantaloupe Island" on ''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]] (with Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the [[post-bop]] style.
<!-- Deleted image removed: [[Image:Herbie Hancock in his youth.jpg|frame|right|200px|Herbie Hancock in his youth]] -->
Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles — ''[[My Point of View]]'' (1963), ''[[Speak Like a Child (album)|Speak Like a Child]]'' (1968) and ''[[The Prisoner (album)|The Prisoner]]'' (1969) featured [[flugelhorn]], [[alto flute]] and [[bass trombone]].{{By whom|date=July 2010}} 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 [[Film scores|score]] to [[Michelangelo Antonioni]]'s film ''[[Blowup]]'', the first of many soundtracks he recorded 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 [[Keyboard instruments|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.

Under the pretext that he had returned late from a honeymoon in [[Brazil]], Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued 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 records|Blue Note]] in 1969, signing up with [[Warner Bros. Records]]. In 1969, Hancock composed the soundtrack for the [[Bill Cosby]] animated children's television 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 became 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 horn players: [[Eddie Henderson (musician)|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. In fact, Hancock was one of the first jazz pianists to completely embrace electronic keyboards.

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 music|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 Subotnick]] 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 synthesizer|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 language|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 now sold as individual CD editions. Of the three electronic albums, ''[[Sextant (album)|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 [[time signature|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 synthesizer]] III.

All three Warner Bros. albums ''[[Fat Albert Rotunda]]'', ''[[Mwandishi]]'', and ''[[Crossings (album)|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.

==Headhunters and Death Wish==
:''See also: [[The Headhunters]]''

[[File:Herbie Hancock 2006.jpg|thumb|230px|right|Herbie Hancock performing in concert, 2005 Photo: Werner Nieke]]
After the sometimes "airy" and decidedly experimental "Mwandishi" albums, Hancock was eager to perform more "earthy" and "[[funk]]y" 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 (bassist)|Paul Jackson]], percussionist [[Bill Summers (percussionist)|Bill Summers]], and drummer [[Harvey Mason]]. The album ''[[Head Hunters (album)|Head Hunters]]'', released in 1973, was a major hit and crossed over to [[pop music|pop]] audiences, though it prompted criticism from some jazz fans. Head Hunters was recorded at [[Different Fur]] studios.

Despite charges of "[[selling out]]", [[Stephen Erlewine]] of ''[[Allmusic]]'' positively reviewed the album amongst other friendly critics, saying, "''Head Hunters'' still sounds fresh and vital three decades after its initial release, and its [[musical genre|genre]]-bending proved vastly influential on not only [[jazz]], but [[funk]], [[Soul music|soul]], and [[hip hop music|hip-hop]]."<ref name="Headhunters ''Allmusic'' review">{{cite web|url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3y61mped9f5o~T1|title=Headhunters Herbie Hancock|last=Erlewine|first=Stephen Thomas|year=2010|work=''Allmusic'' review of ''Headhunters''|publisher=Rovi Corporation|accessdate=1 July 2010}}</ref>

Mason was replaced by [[Mike Clark (musician)|Mike Clark]], and the band released a second album, ''[[Thrust (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 (Herbie Hancock album)|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 (film)|The Spook Who Sat By The Door]]''. Then in 1974, Hancock also composed the soundtrack to the first ''[[Death Wish (film)|Death Wish]]'' film. One of his memorable songs, "Joanna's Theme", would later be re-recorded in 1997 on his duet album with [[Wayne Shorter]] ''[[1 + 1 (album)|1 + 1]]''.

Hancock's next jazz-funk albums of the 1970s were ''[[Man-Child]]'' (1975), and ''[[Secrets (Herbie Hancock album)|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 he never did so. VSOP recorded several live albums in the late 1970s, including ''[[VSOP (album)|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 (Herbie Hancock album)|Dedication]]'' (1974), ''[[VSOP: Tempest in the Colosseum]]'' (1977), and ''[[Direct Step]]'' (1978). ''[[VSOP: Live Under the Sky|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 (jazz album)|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.<ref>http://www.warr.org/hancock.html</ref> 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 (jazz album)|Monster]]'' (1980), ''[[Magic Windows (album)|Magic Windows]]'' (1981), and ''[[Lite Me Up (album)|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 (album)|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 (Herbie Hancock album)|Quartet]]'' with [[Wynton Marsalis]], released in the US the following year. Hancock, Williams and Carter toured internationally with Wynton and his brother [[Branford Marsalis]] in what was affectinately known as "VSOP II". This quintet can be heard on Marsalis' debut album on Columbia (1981).

In 1983, Hancock had a [[mainstream]] hit with the [[Grammy]]-award winning instrumental single "[[Rockit]]" from the album ''[[Future Shock (Herbie Hancock 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]]. The video won 5 different categories at the inaugural [[MTV Video Music Awards]], including the category for [[MTV Video Music Award for Video of the Year|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 (Herbie Hancock album)|Future Shock]]'' (1983), ''[[Sound-System (album)|Sound-System]]'' (1984) and ''[[Perfect Machine (album)|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 (musician)|Howard Jones]], and [[Thomas Dolby]], in a famous synthesizer [[Jam band|jam]] [http://it.youtube.com/watch?v=ZZEGHnAxEpo (the video on youtube )]. Lesser known works from the 80s are the live album ''[[Jazz Africa]]'' and the studio album ''[[Village Life (album)|Village Life]]'' (1984) which were recorded with [[Gambia]]n [[Kora (instrument)|kora]] player [[Foday Musa Suso]]. [http://www.pandora.com/music/artist/3feb50074a703d1a] Also, in 1985 he performed as a guest on the album [[So Red The Rose]] by the [[Duran Duran]] shoot off group [[Arcadia (band)|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 (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 (composition)|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 (album)|Sextant]]'', ''[[Head Hunters (album)|Head Hunters]]'' and ''[[Thrust (album)|Thrust]]'' as well as the last four releases ''[[Future Shock (Herbie Hancock album)|Future Shock]]'', ''[[Sound-System (album)|Sound-System]]'', the soundtrack to ''[[Round Midnight (film)|Round Midnight]]'' and ''[[Perfect Machine (album)|Perfect Machine]]''. Everything released in America from ''[[Man-Child]]'' to ''[[Quartet (Herbie Hancock album)|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 (album)|Magic Windows]]'' and ''[[Monster (jazz album)|Monster]]''. Hancock also re-released some of his Japan-only releases in the West, such as ''The Piano.''

==1990s and later==
[[File:Herbie Hancock-Chameleon Live.jpg|thumb|220px|right|Hancock live in concert]]
After leaving Columbia, Hancock took a break. Then, 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 (album)|The New Standard]]'' found him and an all-star band including [[John Scofield]], [[Jack DeJohnette]] and [[Michael Brecker]] interpreting [[pop music|pop songs]] by [[Nirvana (band)|Nirvana]], [[Stevie Wonder]], [[The Beatles]], [[Prince (musician)|Prince]], [[Peter Gabriel]] and others. A 1997 duet album with Wayne Shorter titled ''[[1 + 1 (album)|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 Gershwin|George]] & [[Ira Gershwin]] standards by Hancock and a plethora of guest stars including [[Stevie Wonder]], [[Joni Mitchell]] and Shorter. Hancock toured the world in the support of ''[[Gershwin's World]]'' with a sextet that featured [[Cyro Baptista]], [[Terri Lynne Carrington]], [[Ira Coleman]], [[Eli Degibri]] and [[Eddie Henderson]].

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 toured t support the album, 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 (musician)|John Mayer]], [[Christina Aguilera]], [[Sting (musician)|Sting]] and others. In 2006, ''[[Possibilities]]'' was nominated for [[Grammy awards]] in two categories: "A Song For You", featuring [[Christina Aguilera]] was nominated for a [[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]]. Neither nomination resulted in an award.

Also in 2005, Hancock toured Europe with a new quartet that included [[Benin]]ese [[guitarist]] [[Lionel Loueke]], and explored textures ranging from [[ambient music|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.
[[File:Herbie Hancock 2005.JPG|thumb|left|220px|Hancock playing at the XM Sonic Stage 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 (musician)|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 Records|Verve]]/[[Polygram Records|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 [[Compact Disc|CD]] "Awake". Hancock also recorded and improvised with guitarist [[Lionel Loueke]] on Loueke's debut album [http://www.obliqsound.com/releases/virgin_forest.html Virgin Forest] on the ObliqSound label in 2006, resulting in two improvisational tracks "Le Réveil 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,<ref>{{cite news | url=http://www.cbc.ca/arts/music/hancock.html |title=Key figure: An interview with jazz legend Herbie Hancock|author=Andre Mayer | date=June 18, 2007 | accessdate=2007-09-11 | work=CBC News}}</ref> 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 (Joni Mitchell album)|Shine]]''.<ref>[http://www.jonimitchell.com/news/index.cfm JoniMitchell.com<!-- Bot generated title -->]</ref> "River" was nominated for and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honor. The album also won a Grammy for Best Contemporary Jazz Album, and the song "[[Both Sides Now (song)|Both Sides Now]]" was nominated for Best Instrumental Jazz Solo.

Recently Hancock performed at the Shriner's Children's Hospital Charity Fundraiser with Sheila E, Jim Brickman, Kirk Whalum and Wendy Alane Wright.

His latest work includes assisting the production of the [[Kanye West]] track "RoboCop", found on [[808s & Heartbreak]].

On June 14, 2008, Hancock performed at [[Rhythm on the Vine]] at the South Coast Winery in Temecula, California for [[Shriners Hospital]] for Children. Other performers at the event, that raised $515,000 for [[Shriners Hospital]], were contemporary music artist [[Jim Brickman]], and [[Sheila E.]] & the E. Family Band.<ref name="aboutrotv">Shriners Hospitals for Children, [http://www.rhythmonthevine.org/index.cfm/id/2/About-ROTV/ "About Rhythm on the Vine"], Rhythm on the Vine, 2008.</ref>

On January 18, 2009, Hancock performed at the [[We Are One: The Obama Inaugural Celebration at the Lincoln Memorial|We Are One concert]], marking the start of [[Inauguration of Barack Obama|inaugural]] celebrations for [[President of the United States|American President]] [[Barack Obama]].<ref>{{cite news|url=http://www.foxnews.com/politics/2009/01/18/obama-family-arrives-concert-lincoln-memorial/|title=Obama: People Who Love This Country Can Change It|publisher=Foxnews|accessdate=2009-02-09 | date=January 18, 2009}}</ref> Hancock also performed the [[Rhapsody in Blue]] at the 2009 [[Classical BRIT Awards]] with classical pianist [[Lang Lang]]. Hancock was named as the [[Los Angeles Philharmonic]]'s creative chair for jazz for 2010-12.<ref>Haga, E. [http://jazztimes.com/articles/24981-herbie-hancock-named-l-a-philharmonic-s-next-creative-chair-for-jazz Herbie Hancock Named L.A. Philharmonic's Next Creative Chair for Jazz], ''Jazz Times'', August 5, 2009.</ref> In June 2010, Hancock released his newest album, ''[[The Imagine Project]]''.

On June 5, 2010, Hancock received an Alumni Award from his alma mater, [[Grinnell College]]<ref>{{cite|url=http://loggia.grinnell.edu/Page.aspx?pid=1098|title=Alumni Award: Herbert J. Hancock '60|}}Hancock received an Alumni Award from Grinnell College at the annual Alumni Assembly June 5, 2010.</ref>.

== Discography ==
{{Main|Herbie Hancock discography}}
{| cellspacing="0" cellpadding="2" border="0"
|- style="background:#ffdead;"
! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Title
! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" |
! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Year
! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" |
! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Label
|-
| style="border-bottom:1px solid grey;" | ''[[Takin' Off]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1962
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | [[Blue Note Records|Blue Note]]
|-
| style="border-bottom:1px solid grey;" | ''[[My Point of View]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1963
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Blue Note
|-
| style="border-bottom:1px solid grey;" | ''[[Inventions and Dimensions]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1963
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Blue Note
|-
| style="border-bottom:1px solid grey;" | ''[[Empyrean Isles]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1964
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Blue Note
|-
| style="border-bottom:1px solid grey;" | ''[[Maiden Voyage]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1965
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Blue Note
|-
| style="border-bottom:1px solid grey;" | ''[[Blow-Up (Soundtrack)|Blow-Up]]'' (Soundtrack)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1966
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | MGM
|-
| style="border-bottom:1px solid grey;" | ''[[Speak Like a Child (album)|Speak Like a Child]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1968
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Blue Note
|-
| style="border-bottom:1px solid grey;" | ''[[The Prisoner (album)|The Prisoner]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1969
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Blue Note
|-
| style="border-bottom:1px solid grey;" | ''[[Fat Albert Rotunda]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1969
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | [[Warner Bros. Records|Warner Bros.]]
|-
| style="border-bottom:1px solid grey;" | ''[[Mwandishi]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1970
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Warner Bros.
|-
| style="border-bottom:1px solid grey;" | ''[[He Who Lives In Many Places]]'' (with bassist Terry Plumeri)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1971
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Airborne.
|-
| style="border-bottom:1px solid grey;" | ''[[Crossings (album)|Crossings]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1972
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Warner Bros.
|-
| style="border-bottom:1px solid grey;" | ''[[Sextant (album)|Sextant]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1973
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | [[Columbia Records|Columbia]]
|-
| style="border-bottom:1px solid grey;" | ''[[Head Hunters (album)|Head Hunters]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1973
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Thrust (album)|Thrust]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1974
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Death Wish (soundtrack)|Death Wish]]'' (Soundtrack)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1974
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Dedication (Herbie Hancock album)|Dedication]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1974
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Man-Child]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1975
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Flood (Herbie Hancock album)|Flood]]'' (Live album)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1975
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Secrets (Herbie Hancock album)|Secrets]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1976
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[VSOP (album)|VSOP]]'' (Live album)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1976
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Herbie Hancock Trio (1977 album)|Herbie Hancock Trio]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1977
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[VSOP: The Quintet]]'' (Live album)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1977
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[VSOP: Tempest in the Colosseum]]'' (Live album)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1977
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Sunlight (jazz album)|Sunlight]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1977
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Directstep]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1978
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[An Evening with Herbie Hancock & Chick Corea: In Concert]]'' (Live album with [[Chick Corea]])
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1978
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[The Piano (Herbie Hancock album)|The Piano]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1979
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Feets, Don't Fail Me Now]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1979
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[VSOP: Live Under the Sky]]'' (Live album)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1979
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[CoreaHancock]]'' (Live album with [[Chick Corea]])
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1979
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | [[Polydor Records|Polydor]]
|-
| style="border-bottom:1px solid grey;" | ''[[Monster (jazz album)|Monster]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1980
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Mr. Hands (album)|Mr. Hands]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1980
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Herbie Hancock Trio]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1981
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Magic Windows (album)|Magic Windows]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1981
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Lite Me Up (album)|Lite Me Up]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1982
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Quartet (Herbie Hancock album)|Quartet]]'' (Live album)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1982
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Future Shock (Herbie Hancock album)|Future Shock]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1983
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Sound-System (album)|Sound-System]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1984
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Village Life (album)|Village Life]]'' (with [[Foday Musa Suso]])
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1985
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Round Midnight (Soundtrack)|Round Midnight]]'' (Soundtrack)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1986
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[Jazz Africa]]'' (Live album with [[Foday Musa Suso]])
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1987
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | [[Polygram Records|Polygram]]
|-
| style="border-bottom:1px solid grey;" | ''[[Perfect Machine (album)|Perfect Machine]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1988
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Columbia
|-
| style="border-bottom:1px solid grey;" | ''[[A Tribute to Miles]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1994
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | [[Qwest Records|Qwest]]/Warner Bros.
|-
| style="border-bottom:1px solid grey;" | ''[[Dis Is Da Drum]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1994
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | [[Verve Records|Verve]]/[[Mercury Records|Mercury]]
|-
| style="border-bottom:1px solid grey;" | ''[[The New Standard (album)|The New Standard]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1995
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Verve
|-
| style="border-bottom:1px solid grey;" | ''[[1 + 1 (album)|1 + 1]]'' (with [[Wayne Shorter]])
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1997
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Verve
|-
| style="border-bottom:1px solid grey;" | ''[[Gershwin's World]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 1998
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Verve
|-
| style="border-bottom:1px solid grey;" | ''[[Future2Future]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 2001
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Transparent
|-
| style="border-bottom:1px solid grey;" | ''[[Directions in Music: Live at Massey Hall]]'' (Live album)
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 2002
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Verve
|-
| style="border-bottom:1px solid grey;" | ''[[Possibilities]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 2005
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Concord/Hear Music
|-
| style="border-bottom:1px solid grey;" | ''[[River: The Joni Letters]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 2007
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Verve
|-
| style="border-bottom:1px solid grey;" | ''[[Then and Now: the Definitive Herbie Hancock]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 2008
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Verve
|-
| style="border-bottom:1px solid grey;" | ''[[The Imagine Project]]''
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | 2010
| style="border-bottom:1px solid grey;" |
| style="border-bottom:1px solid grey;" | Hancock
|}

==Filmography==
===As a Leader===
* 2000: '' Dejohnette, Hancock, Holland and Metheny - Live in Concert''
* 2002: ''Herbie Hancock Trio: Hurricane!'' with [[Ron Carter]] and [[Billy Cobham]]<ref>[http://www.view.com/herbie_hancock_trio_hurricane_dvd.aspx VIEW DVD Listing]</ref>
* 2002: '' The Jazz Channel Presents Herbie Hancock (BET on Jazz)'' with [[Cyro Baptista]], [[Terri Lynne Carrington]], [[Ira Coleman]], [[Eli Degibri]] and [[Eddie Henderson]]
* 2004: ''Herbie Hancock - Future2Future Live''
* 2006: ''Herbie Hancock - Possibilities'' with [[John Mayer]], [[Christina Aguilera]], [[Joss Stone]], and more

==Awards==
===Academy Awards===

* 1986, Original Soundtrack, for ''[[Round Midnight (soundtrack)|Round Midnight]]''

===Grammy Awards===

# 1984, [[Grammy Award for Best R&B Instrumental Performance|Best R&B Instrumental Performance]], for ''[[Rockit]]''
# 1985, Best R&B Instrumental Performance, for ''[[Sound-System (album)|Sound-System]]''
# 1988, [[Grammy Award for Best Instrumental Composition|Best Instrumental Composition]], for ''Call Sheet Blues''
# 1995, [[Grammy Award for Best Contemporary Jazz Album|Best Jazz Instrumental Performance, Individual Or Group]], for ''[[A Tribute to Miles]]''
# 1997, Best Instrumental Composition, for ''Manhattan (Island Of Lights And Love)''
# 1999, Best Instrumental Arrangement Accompanying Vocal(s), for ''St. Louis Blues''
# 1999, Best Jazz Instrumental Performance, Individual Or Group, for ''[[Gershwin's World]]''
# 2003, Best Jazz Instrumental Album, Individual or Group, for ''[[Directions in Music: Live at Massey Hall]]''
# 2003, Best Jazz Instrumental Solo, for ''My Ship''
# 2005, Best Jazz Instrumental Solo, for ''Speak Like a Child''
# 2008, [[Grammy Award for Album of the Year|Album of the Year]], for ''[[River: The Joni Letters]]''
# 2008, [[Grammy Award for Best Contemporary Jazz Album|Best Contemporary Jazz Album]], for ''[[River: The Joni Letters]]''

===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
*Album of the Year, 2007
*Harvard Foundation Artist of the Year, 2008<ref>[http://www.news.harvard.edu/gazette/2008/02.28/99-culturalrhythms.html Hancock named Harvard Foundation Artist of the Year — The Harvard University Gazette<!-- Bot generated title -->]</ref>

==References==
{{Reflist}}

==External links==
* [http://www.herbiehancock.com/ Official website of Herbie Hancock]
* [http://www.myspace.com/herbiehancock Official Herbie Hancock MySpace page]
* [http://vervemusicgroup.com/artist.aspx?ob=pri&src=wiki&aid=2846 Herbie Hancock at Verve Records]
* [http://vervemusicgroup.com/product.aspx?ob=n&src=art&pid=11770 River:The Joni Letters at Verve Records]
* [http://www.herbiehancock.com/music/ Possibilities] Herbie Hancock
* [http://www.stamil.homepage.t-online.de/hhdisco.htm Discography] Herbie Hancock Discography
*[http://applematters.com/index.php/section/comments/the_applematters_interview_herbie_hancock/ Interview with Herbie Hancock] on music and technology from [http://www.applematters.com AppleMatters]
* [http://www.livedaily.com/interviews/liveDaily_Interview_Herbie_Hancock-8360.html Interview with Herbie Hancock] on the "Possibilities" album release from [http://www.livedaily.com/ LiveDaily]
* [http://www.jambase.com/headsup.asp?storyID=11098&disp=all Herbie Hancock: Outside The Comfort Zone] Herbie Hancock interview from [http://www.jambase.com/ JamBase]
* [http://www.jazz.com/dozens/the-dozens-twelve-essential-herbie-hancock-performances "Herbie Hancock: Essential Recordings"] by Ted Gioia ([http://www.jazz.com www.jazz.com])
* [http://loggia.grinnell.edu/Page.aspx?pid=1098 Herbie Hancock's Grinnell College Alumni Award citation] from Grinnell College Alumni Assembly on June 5, 2010.

{{Persondata
|NAME= Hancock, Herbie
|ALTERNATIVE NAMES=Hancock, Herbert Jeffrey
|SHORT DESCRIPTION=[[Pianist]], [[composer]], and [[bandleader]]
|DATE OF BIRTH=April 12, 1940
|PLACE OF BIRTH=[[Chicago]], [[Illinois]], United States
|DATE OF DEATH=
|PLACE OF DEATH=
}}
{{DEFAULTSORT:Hancock, Herbie}}
[[Category:1940 births]]
[[Category:20th-century classical composers]]
[[Category:African American songwriters]]
[[Category:American Buddhists]]
[[Category:American funk keyboardists]]
[[Category:American jazz bandleaders]]
[[Category:American jazz composers]]
[[Category:American jazz pianists]]
[[Category:Musicians from Chicago, Illinois]]
[[Category:Grammy Award winners]]
[[Category:MTV Video Music Awards winners]]
[[Category:Grinnell College alumni]]
[[Category:Hard bop pianists]]
[[Category:Jazz fusion pianists]]
[[Category:Jazz-funk pianists]]
[[Category:Living people]]
[[Category:Miles Davis]]
[[Category:Blue Note Records artists]]
[[Category:Modal jazz pianists]]
[[Category:Post-bop pianists]]
[[Category:Converts to Buddhism]]
[[Category: Members of Soka Gakkai]]
[[Category:Keytarists]]

[[an:Herbie Hancock]]
[[ca:Herbie Hancock]]
[[cs:Herbie Hancock]]
[[da:Herbie Hancock]]
[[de:Herbie Hancock]]
[[es:Herbie Hancock]]
[[eo:Herbie Hancock]]
[[fr:Herbie Hancock]]
[[gl:Herbie Hancock]]
[[io:Herbie Hancock]]
[[id:Herbie Hancock]]
[[it:Herbie Hancock]]
[[he:הרבי הנקוק]]
[[ka:ჰერბი ჰენკოკი]]
[[hu:Herbie Hancock]]
[[nl:Herbie Hancock]]
[[ja:ハービー・ハンコック]]
[[no:Herbie Hancock]]
[[oc:Herbie Hancock]]
[[nds:Herbie Hancock]]
[[pl:Herbie Hancock]]
[[pt:Herbie Hancock]]
[[ru:Хэнкок, Херби]]
[[sk:Herbie Hancock]]
[[fi:Herbie Hancock]]
[[sv:Herbie Hancock]]
[[th:เฮอร์บี แฮนค็อก]]
[[tr:Herbie Hancock]]
[[uk:Гербі Генкок]]

Revision as of 13:22, 21 October 2010

He likes men.

Retrieved from "https://en.wikipedia.org/w/index.php?title=Herbie_Hancock&oldid=392023095"