Hancock, Herbie - Music, Songs, and Lyrics

Born Herbert Jeffrey Hancock, 12 April 1940, Chicago, Illinois, USA. Growing up in a musical household, Hancock studied piano from the age of seven and gave his first public performance just two years later. Although he played classical music at his debut Hancock's interest lay mostly in jazz. During high school and college he played in semi-professional bands and on occasion accompanied visiting jazzmen, including Donald Byrd. It was with Byrd that Hancock first played in New York, in 1961, recording with him and as leader of his own small group. Among the tunes on this later album was "Watermelon Man", a Hancock original that appealed to more than the usual jazz audience. A version of the song, by Mongo Santamar�a, reached the US Top 10.

During the early and mid-60s Hancock led bands for club engagements and record sessions but the move which really boosted his career and international recognition was joining the quintet led by Miles Davis, with whom he stayed for more than five years. Towards the end of the stint with Davis, the band began its move into jazz rock. Hancock felt comfortable in this style and in 1968 formed a sextet to pursue his own concepts. With musicians such as Julian Priester, Buster Williams and Eddie Henderson, and playing much original material composed by Hancock, the band became one of the most popular and influential of the jazz rock movement in the early 70s. From 1969 Hancock made extensive use of electronic piano and other electronic keyboard instruments, including synthesizers.

In 1973 economic pressures compelled Hancock to cut the band to a quartet, which featured Bennie Maupin, who had also been in the bigger group. The new group's music was again fusion, but this time leaned more towards jazz funk. Whether by good fortune or through astute observation of the music scene, Hancock's first album with the quartet, Head Hunters, was widely accepted in the burgeoning disco scene and achieved substantial sales. Throughout the rest of the 70s Hancock's music was concentrated in this area with occasional returns to jazz for record sessions. By the end of the decade, however, his popularity in the disco market was such that he cut down still further on straight jazz performances. Certain albums he made, with Chick Corea and with his own band, V.S.O.P. (a re-creation of the Davis quintet except with Freddie Hubbard in place of Miles), suggested that he retained an interest, however peripheral, in jazz. His numerous disco successes included "You Bet Your Love", a UK Top 20 hit in 1979, and in collaboration with the group Material he recorded Future Shock, one track from which "Rockit", reached the UK Top 10 in 1983 and made the top spot in the USA.

In 1986 Hancock played and acted in the movie 'Round Midnight. He also wrote the score, for which he won an Academy Award. Subsequently, he became more active in jazz, touring with Williams, Ron Carter, Michael Brecker and others. In his use of synthesizers, voice-box and other state-of-the-art electronic devices. The New Standard was an interesting concept album. On this Hancock gave interpretations of songs by rock singer-songwriters such as Peter Gabriel, the Eagles' Don Henley, John Lennon, Paul McCartney, Stevie Wonder, Prince and lo and behold, Nirvana's Kurt Cobain. His late 90s tribute to George Gershwin was another excellent recording.

Hancock has displayed far-reaching inventiveness, setting standards for the pop industry. Although Hancock's first love is jazz, he has skillfully pushed his music into other areas creating a body of work that is breathtaking in its scope. The career moves made by Hancock over the years have tended to alienate the hardcore jazz fans who applauded his earlier work with Davis, his popularity with the disco and related audiences has not been achieved at the expense of quality. All of his successes in this area have been executed to the highest musical and other professional standards; the pop video accompanying "Rockit" was an award winner. Where his jazz work is concerned, he has displayed an intelligent approach to his material. If the music is often cerebral, it is rarely without heart; indeed, the V.S.O.P. band's recreations have been notable for their integrity and a measure of passionate intensity that at times matches that of the original.

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