02/25/05
Interview with Herbie Hancock
Herbie Hancock is a true icon of modern music. His explorations have transcended limitations and genres, and at the same time he has maintained his unmistakable voice. Hancock’s success at expanding the possibilities of musical thought has placed him in the annals of this century’s visionaries.
Born into a musical family in Chicago on April 12,1940, Herbie Hancock earned his college degree in engineering at Grinnell. But music for which he always had a gift would become his life’s work.
It was Donald Byrd who brought him to New York in January of 1960 and introduced him to Blue Note Records. It was also Donald who prodded Herbie to show Mongo Santamaria his composition “Watermelon Man” on a band break one night, leading to Herbie’s first top ten record as a composer.
Herbie began recording for Blue Note as a leader in May of 1962. his records clearly chart his development and his varied musical interests. For most of the sixties, Herbie was part of the Miles Davis Quintet with Wayne Shorter, Ron Carter and Tony Williams.
Many years later this jazz genius is finding himself, again , involved in dealing with the inventive way of delivering jazz sound, working on extremely brave and challenging musical project; Directions In Music.
In 2002, Verve Records released Directions In Music: “Celebrating John Coltrane and Miles Davis”. This project was a collaboration between pianist Herbie Hancock, saxophonist Michael Brecker and trumpeter Roy Hargrove.
The live recording won two Grammys at the 2003 Grammy Awards.
The follow up program Directions in Music:” Our Times” is focusing and exploring the themes of contemporary composers such as Wayne Shorter, Hancock, McCoy Tyner, Chick Corea, Jaco Pastorius, Steve Wonder and the late Ray Charles.
Point is, just like other greats of jazz, the players in Direction In Music don’t stop experimenting and that’s name of the game when comes to genius of Herbie Hancock.
Zoran: How happened to be that music became your life ?
Hancock: Well…Not really my life but instead of that I should say, good part of my life. Fact is that I played piano and performed, as a young kid, a Mozart piano concerto with the Chicago Symphony Orchestra . Don’t forget I was only 11 years old and to be on the stage at that age had tremendous impact on me. Basically love for classical music and performing as a kid on the big stage probably lead toward this decision which meant that music is going to be my big love but also my profession.
Zoran: Yeah, but when did you really putt the grip on all this “jazz story” ?
Hancock: Oh, my God, that was in my high school days. That’s when I started to play jazz and at that time, I was very much influenced by Oscar Peterson and Bill Evans. But also I know at that time that jazz music can and should have full freedom to sound differently … More inventive and confusing at same time…
When I started to play jazz, I found myself dealing with interest which was directly pointed toward electronic science. I got double major in music and electrical engineering and somehow, don’t ask me how, many years later ,that helped me to create my own sound …my own approach to jazz music.
Zoran: Did you find NYC to be crucial for dramatic development of your jazz career?
Hancock: No doubt. It was crucial for my jazz development. Well, I was helped by Donald Byrd to basically experience that all beauty of the NYC jazz scene.
He gave to me that initial kick to move forward. First he asked me to join to his group and after that he introduced me to Alfred (author’s comment: Alfred Lion) from Blue Note Records. In the beginning I was doing ,more or less, session work with guys like Phil Woods and Oliver Nelson but after probably year and half or let’s say two years, I signed to the Blue Note Records as a solo artist.
Zoran: That was time of your “Takin’ Off” album and you really “took off “with that album.
Hancock: That’s correct. I mean, “Watermelon Man” from that album became instant hit at jazz and R&B radio and that gave me real recognition in the jazz community. That was one of the reasons why Miles showed interest in me.
Zoran: Are you talking about period when you joined to his Quintet?
Harbie: Yes. That’s exactly what I meant. Same year I had my solo album out and I got invited by Miles to join to Miles Davis Quintet. 1963, was definitely good year for me. Brought to me tremendous experience and let’s face it, money.
Zoran: How long did you stay with Miles Davis?
Hancock: I spent 5 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 (author’s comment: Ron Carter) on bass, Tony Williams played drums. That was great band which we had.
Zoran : But after these 5 years you still didn’t break loose completely from Miles Davis?
Hancock: That’s true. We continued to work together and he invited me to take part on his crucial recordings such as In A Silent Way and Bitches Brew. Again, Miles was very instrumental in my jazz career. He was free spirit and he basically allowed me to go ahead experimental approach to jazz sound.
Zoran: You had so many hit records either your solo records or records that you recorded with musicians such as Miles Davis which we mentioned second ago.
How did you react in 1994 when British hip hop group called US3 sampled your
classic “Cantaloupe Island” for a track called “Cantaloop”?
Hancock: I was pleased with the way how this band took spin on Cantaloupe Island.
At same time I was also positively surprised that their version became a huge international hit. I can tell you, these guys made a lots of the money for Blue Note.
It was interesting period in my life because some times on my concerts public expected from me to play that version instead of my original. (laugh)
Zoran: Do you have high expectations from your new project “Directions in Music: Our Times”?
Hancock: I always have high expectation when comes to my approach of shaping jazz sound. Either live shows or studio recordings, I am always expecting from myself to give maximum.
On this particular project, I can tell you that I get great satisfaction from the fact that I am working with talented musicians who are taking this project down it’s own compositional path. It’s really good stuff.
Night was cold and this short, but warm conversation with Herbie Hancock explained , at least to me , that it’s possible to have great interest , love and desire for something what you do for last 50 years.
Herbie Be Good .
Zoran Misetic
for Pop Entertainment
Post je objavljen 27.02.2005. u 22:10 sati.