Herbie Hancock, in full Herbert Jeffrey Hancock, (conceived April 12, 1940, Chicago, Illinois, U.S.), American console player, musician, and bandleader, a productive chronicle craftsman who made progress as a sharp, pleasingly provocative jazz piano player and after that proceeded to increase wide prominence as a pioneer of electric jazz-shake gatherings.
At age 11 Hancock played the main development of a Mozart concerto with the Chicago Symphony Orchestra. He shaped his first band while a secondary school understudy. Subsequent to moving on from Grinnell College in Iowa in 1960, he joined trumpeter Donald Byrd’s gathering and moved (1961) to New York City. There his astute backups and clear soloing with bebop gatherings prompted visits with Miles Davis (1963–68). The Davis quintet’s mid-1960s examinations of musical and symphonious opportunity animated a portion of Hancock’s most brave, arrhythmic, pleasingly bright ideas. In the mean time, he recorded broadly in bebop and modular jazz settings, running from crazy rhythms to ethereal modular harmonies; as a sideman on Blue Note collections and a pioneer of combos, he played unique topics including “First journey,” “Melon Island,” and “Watermelon Man,” which turned into a famous hit in Mongo Santamaria’s chronicle.
During the 1970s, subsequent to playing in Davis’ first jazz-shake tests, Hancock started driving combination groups and playing electronic consoles, from electric pianos to synthesizers. Convincing sound hues and rhythms, in layers of synthesizer lines, portrayed jazz-funk hits, for example, “Chameleon,” from his top of the line Headhunters collection (1973). Later move hits by Hancock included “You Bet Your Love” (1979) and “Rockit” (1983). In the mean time, he additionally created music, both jazz-shake and straight-ahead jazz, for communicate plugs, TV, and movies, for example, Blow-Up (1966), Death Wish (1974), and Round Midnight (1986); for the last one he won an Academy Award. Since the mid-1970s he has played acoustic piano in jazz ventures, played two part harmonies with Chick Corea, and performed in combos with previous Davis partners and trumpeters, for example, Freddie Hubbard and Wynton Marsalis.
Enthusiasm for Hancock’s Blue Note inventory was recharged in 1993 when an example of “Melon Island” showed up in Us3’s universal hit “Cantaloop (Flip Fantasia).” In 1998 he rejoined his Headhunters gathering, and the turn of the thousand years saw the dispatch of various community oriented tasks. On Future 2 Future (2001), Hancock collaborated with jazz legend Wayne Shorter and the absolute greatest names in techno music to create a beat-filled combination of jazz and electronic music. His next undertaking, Possibilities (2005), was an endeavor into popular music with such visitor entertainers as Stevie Wonder, Paul Simon, and Santana. Hancock added to his effectively broad Grammy gathering with a couple of honors—including collection of the year—for his Joni Mitchell tribute River: The Joni Letters (2007). In 2011 he won one more Grammy with The Imagine Project (2010), a spreads collection that highlighted visitor exhibitions by Pink, Jeff Beck, and John Legend, among others. In 2013 Hancock was named a Kennedy Center honoree.