Herbie Hancock
Page 34
And that includes going back to classical music, which—apart from that one Grammys performance with Lang Lang—I hadn’t played since I was twenty years old. My musical output had gone through a chameleonlike evolution, from classical to jazz to funk to hip-hop and beyond, but now, in my seventies, I was coming back around full circle.
In February of 2012 I agreed to play a classical piece for the New York Philharmonic’s Chinese New Year celebration at Lincoln Center. “Er Huang” was written by a Chinese composer named Qigang Chen, and it was the hardest piece of music I have ever tried to learn in my life. It was written on four staves, or musical staffs—which is normally done for four hands—and about three-quarters through, it starts going really fast and jumping around.
I mean, this piece kicked my ass. For months before the performance I practiced between three and four hours a day—and I’ve never practiced that much for any music I’ve performed, with the possible exception of playing “Rhapsody in Blue” with Lang Lang at the Grammys. For “Er Huang” I was practicing beyond what I’d done when I was eleven years old, preparing for my debut at the Chicago Symphony. My friends were wondering what had happened to me, and even my brother, Wayman, called to ask if everything was okay.
When I was rehearsing for the Grammys performance with Lang Lang, I hired a tutor named Joanne Pearce Martin, who’s the keyboardist for the Los Angeles Philharmonic. I hired her again for this, and three or four times a week she’d come over to my house to try to help me get back my classical chops. She started me off doing scales, and as she watched me play she said, “Herbie, you don’t pay any attention to your left hand. You pay attention to your right hand, and then your left hand follows.”
I hadn’t thought about it, but once she pointed it out, I noticed she was right. I thought back to years before, when Miles Davis pointed out that my left hand was holding back my right. I obviously still needed improvement, just as I did when I was a younger player. “Do the scales with just your left hand sometimes, and leave the right hand out,” she told me. “That way you’ll get used to paying attention to it.” I had been playing piano for sixty-five years by this point, but you never stop learning, never stop improving, if you keep your mind open.
Even with Joanne’s help this piece was still terrorizing me. I would practice for hours and then hit a plateau where my playing never seemed to improve. I very rarely get stressed out, but I was getting nervous, worrying that I wasn’t going to be able to perform the piece up to the standards I wanted.
It was on my mind so much that I decided to go to a Buddhist meeting to regain my perspective on the problem. And the amazing thing was, the simple act of deciding to go to that meeting helped me realize that playing this piece wasn’t about me at all but about others. It was about having the opportunity to do something for others.
Once I’d shifted my focus and gained this new intention, I was able to stop worrying. And that cleared my mind enough to realize how I could solve my problem: Instead of playing the most difficult parts exactly as they were written, I could use improvisation to get through them. I didn’t have to be so rigid in my playing—in fact, the composer himself had said he welcomed my improvising and that the more important thing was to perform the true spirit of the piece. Finally I was able to relax and look at how I might play the piece well, even if that meant not sticking completely to the notes on the page.
That broke everything open. At the concert I walked out onstage feeling confident, and from the first chord I was smiling. I even played the most difficult parts as written, which I never expected to do. Backstage after the show, people came and told me that the piece sounded beautiful, and several said I had been smiling the entire time I was onstage, which I hadn’t even realized. They could see that I was enjoying myself, and I really was—because I’d finally figured out how to turn my obstacle into an opportunity, which opened up a whole new world of possibility.
Thinking about that performance reminds me of another one—a night fifty years ago, on a stage in Stockholm, when I played what I thought was a “wrong note.” I had felt so embarrassed, having made such an obvious mistake in front of an audience while playing with the great Miles Davis. But when Miles turned that obstacle into a new opportunity, he taught me a lesson I never forgot.
Miles taught me many great lessons in music, but everything I learned from him, I learned for the sake of playing well. I never really saw past that, because at that time playing music was the most important thing in my life. Once I started practicing Buddhism, I learned even greater lessons—about not just how to play but how to live. Buddhism illuminates everything I’ve learned in new and profound ways, and it keeps teaching me new things every single day. I can hardly wait to see what tomorrow will bring.
ACKNOWLEDGMENTS
In life, as in jazz, there is great beauty in collaboration. I’ve been very fortunate throughout the years to have wonderful family members, friends, and colleagues who’ve made my life’s journey all the richer. And there are many—far too many to list in the pages of a book.
In particular, I would like to thank:
The managers, agents, and others who have helped me throughout my life and career: Melinda Murphy, Bruce Eskowitz, Marc Allan, Red Light Management, David Rubinson, Tony Meilandt, David Passick, Barry Marshall and Marshall Arts, Ken Hertz, David Jackel, and Adriane Hibbert.
The talented engineers who’ve helped bring my music to life: Bryan Bell, Fundi Bonner, Fred Catero, Helik Hadar, Brian McCullough, Rudy Van Gelder. And those who have helped me put words to paper: Bob Barnett, Rick Kot and Clare Ferraro, Lisa Dickey, and Shelby Fischer.
The producers, directors, studios, and festival creators who’ve provided stages both literal and virtual for jazz: Michael Beinhorn, Dahlia Ambach Caplan, Laura Connelly, Ken Erlich, Quincy Jones, Larry Klein, Bill Laswell, Bruce Lundvall, Claude Nobs, Bertrand Tavernier, George Wein, Richard Saul Wurman, Blue Note, Sony, Verve, and Warner Bros.
The makers of the instruments and technology that have enhanced music and its creation over the years: Paolo Fazioli, Steve Jobs and Steve Wozniak, Apple Inc., Korg, Harold Rhodes.
The people and organizations who are working tirelessly to better our world: President Daisaku Ikeda, Danny Nagashima, Kay Yoshikawa, and Soka-Gakkai International; Tom and Cheri Carter, Bill Powers, Stuart Subotnick, Carolyn Powers, and Thelonious Monk III of the Thelonious Monk Institute of Jazz; Mika Shino; UNESCO; former secretary of state Madeleine Albright.
The many musicians who have both inspired me and given me the honor of playing with them: Chris Anderson, Krishna Booker, Jeff Bova, Donald Byrd, Ron Carter, Mike Clark, Vinnie Colaiuta, Chick Corea, Miles Davis, GrandMixer DXT, James Genus, Pat Gleeson, Godley & Creme, Don (Goldberg) James, Billy Hart, Eddie Henderson, Freddie Hubbard, Paul Jackson, Lang Lang, Lionel Loueke, Wynton Marsalis, Harvey Mason, Bennie Maupin, Joni Mitchell, Julian Priester, Carlos Santana, Sly Stone, Bill Summers, Wah Wah Watson, Buster Williams, Tony Williams, and Stevie Wonder.
My dearest friends: Wayne and Carolina Shorter, Lou and Kelly Gonda, Kathy and Maria Lucien, Valerie Bishop, Susie Sempers, and Matilda Buck.
And finally, my family: My brother and sister, Wayman and Jean; my parents, Wayman and Winnie Hancock, who taught us as children to believe in ourselves; my daughter, Jessica, who lights up my world; and my wife, Gigi, the love of my life.
For more information:
Soka Gakkai International—USA (SGI)
606 Wilshire Blvd.
Santa Monica, CA 90401
(310) 260-8900
www.sgi-usa.org
United Nations Educational, Scientific and Cultural Organization—UNESCO
7 place Fontenoy
75352 Paris 07 SP, France
33 (0)1 45 68 10 00
2 United Nations Plaza, Room 900
New York, NY 10017
(212) 963-5995
/> www.unesco.org
Thelonious Monk Institute of Jazz
1801 Avenue of the Stars, Suite 302
Los Angeles, CA 90067
(310) 284-8200
www.monkinstitute.org
INDEX
The page numbers in this index refer to the printed version of this book. The link provided will take you to the beginning of that print page. You may need to scroll forward from that location to find the corresponding reference on your e-reader.
Academy Awards, 220, 250, 271–75
“Actual Proof” (song), 189–90
Adams, Pepper, 32, 40
Adderley, Cannonball, 125, 237
Antonioni, Michelangelo, 95–96, 97–99, 100, 307
Apple, 197, 215, 216–17, 220
avant-garde music, 47–48, 69, 104–5, 125, 127, 161, 163, 169, 237, 238, 243
Baker, Chet, 259–60, 290
Basie, Count, 26, 36
Beatles, 143, 292, 327
Beinhorn, Michael, 236, 237–38, 246, 307
Bell, Bryan, 68, 191–95, 196–97, 208–10, 211–15, 216–18, 227, 228, 229, 239, 245
Billboard, 46–47, 50
Billy Eckstine Orchestra, 69–70
Birdland jazz club, 36–37, 41, 82, 258, 277
Bitches Brew (album), 122, 147, 308–9
Black Power movement, 113, 118–20
Blakey, Art, 32, 36–37, 70
Blangsted, Else, 248, 249
Blow-Up (film), 95–100, 110, 170
Blue Note Records, 41, 43, 44, 45, 46, 90, 91, 113, 173, 199, 251
blues, 4, 9, 33, 169
Bonner, Billy, see Fundi (Billy Bonner)
Brubeck, Dave, 127, 183
Buddhism, 16, 153–58, 159–61, 170–73, 179, 181, 182, 189, 194, 204–5, 207–8, 209, 230, 231, 244, 263, 266, 271, 279–80, 287, 291, 294, 298, 303, 304, 318, 319, 320, 326, 328–29, 331, 332
Byrd, Donald, 32–35, 37, 38–40, 41, 43, 44, 45, 49, 50, 51, 52, 53, 54, 55, 56, 77, 112
Caplin, Dahlia Ambach, 313, 321
Carter, Ron, 1, 57, 58, 60, 61–62, 64, 67, 79, 88, 90, 92, 94, 99, 111, 112, 198, 201, 218, 221, 222, 223, 226, 254, 256, 283, 284
Catero, Fred, 211, 215
“Chameleon” (song), 177, 180
“Chan’s Song” (song), 257–58
Chicago, Ill., 3, 4, 5, 6–7, 13, 17, 18, 19, 29, 30, 32, 34, 36, 40, 42, 61, 69, 91–93, 154, 172, 182, 204, 205, 227, 266, 269, 276
London House gig in, 127–31, 132, 133, 140, 154, 169
Chicago Symphony Orchestra (CSO), 10–11, 12, 330
civil rights movement, 113, 120, 125
Clan of the Cave Bear (film), 260, 261, 262, 263
Clark, Mike, 184, 188, 299
classical music, 4, 9, 11, 12, 19, 20, 21, 22, 23, 25, 57, 105, 204, 239, 297, 298, 319, 329–31
Clavinet, 177, 220, 245
Coast to Coast (TV show), 276–77
Colaiuta, Vinnie, 315, 321
Coleman, George, 57, 60, 64, 69, 70, 90
Coltrane, John, 32, 36, 54, 64, 85, 118, 198, 290, 320
Columbia Records, 93, 162, 181, 182, 188, 222, 229, 240–41, 243, 251, 277, 278, 284
Concrete Cowboys (TV show), 252, 253
Corea, Chick, 48–49, 110, 111, 169, 201–3, 218, 298
Cosby, Bill, 115–16, 117, 120
Creme, Lol, 241, 242, 244, 246
Crossings (album), 143, 144–48, 161, 179, 181, 211
Dance of the Infidels, The (Paudras), 251–52
Davis, Miles, 1–2, 30, 37, 48, 54–56, 57–61, 63–68, 69, 70, 74, 75–76, 77–78, 79–81, 82, 83, 84, 88, 90, 92, 93, 94, 101, 102, 103–4, 105, 106, 110, 111, 114, 118, 122, 147, 166, 183, 185, 189, 197, 198–99, 201, 221, 223, 224, 225, 277, 280, 281–83, 287–88, 291, 308–9, 310, 320, 330
death of, 283–84
generosity of, 70–71
health and drug issues of, 82, 91, 279–81, 282
HH’s first meeting with, 54–55
leadership and musical instruction of, 60, 61, 62–63, 65, 66, 94–95, 172, 223, 332
musical freedom allowed by, 60, 78, 115, 244
Tony Williams’s tense relationship with, 67–68
tribute tour for, 283, 284
see also Miles Davis Quintet
Death Wish (film), 186–88, 196, 247, 295
DeJohnette, Jack, 99, 100, 292, 307
Different Fur Trading Company, 145, 180
digital audio, 196, 213, 214, 216, 218, 284, 285
Dis Is Da Drum (album), 285–86
“Dolphin Dance” (song), 91, 127, 140
Dolphy, Eric, 47–48, 56, 57, 141
DST (now DXT), 238, 244–45, 246
Duran Duran, 242, 255
Dynabook, 195–97, 218
Earth, Wind & Fire, 162, 207
Echoplex, 143, 144, 149, 245
Eckstine, Billy, 69–70
electric piano, 103–4, 105, 117, 137, 139, 143–44, 185, 213, 225, 283, 327
see also synthesizers
electronic music, 104–5, 117, 145, 164, 169, 170, 177, 185–86, 190, 201, 203, 208, 214, 220–21, 224, 235, 236, 307, 308
piano in, 103–4, 105, 117, 137, 139, 143–44
sound gadgets and equipment used in, 143–44, 145, 149–50, 180, 192–93, 196, 210–14, 236
synthesizers in, see synthesizers
Ellington, Duke, 134, 198, 297
Emergency! (album), 309
E.S.P. (album), 88–89
Evans, Bill, 38, 118, 310
Evans, Gil, 101, 102, 103
Fairlight synthesizer, 219–20, 261
Fat Albert Rotunda (album), 117, 135, 161
“Fat Albert Rotunda” (song), 121, 123
Fender Rhodes electronic piano, 103–4, 105, 117, 143–44, 327
Forman, James, see Mtume (James Forman)
Fundi (Billy Bonner), 128, 130, 132, 167
funk music, 162, 173–75, 176, 199, 239, 319, 330
see also jazz-funk fusion
Future 2 Future (album), 307–8, 309
Future Shock (album), 238–39, 240–41, 244–46, 307
Gershwin, George, 296–97, 298
Gershwin’s World (album), 296–98
Gesang der Jünglinge (album), 104–5
Getz, Stan, 19, 36, 318
Gillespie, Dizzy, 54, 70, 224, 277
Gleeson, Patrick, 144–46, 148–50, 175, 180, 196
Godley, Kevin, 241, 242, 244, 246
Goldberg, Don, 20, 21, 22
Goldsmith, Jerry, 273, 274
Goodman, Benny, 30, 93–94
Gordon, Dexter, 46, 70, 251, 252, 257, 271, 272, 274
Grammy Awards, 220, 245–46, 274, 293–94, 307, 317–21, 330
Grinnell College, 24–28, 29, 40, 72, 120, 146
Hampton, Lionel, 93, 94, 277
Hancock, Gigi, 73–74, 75, 91, 111, 117–18, 119, 142, 168, 228–29, 247, 263, 264, 265–66, 270, 272, 273, 274, 275, 283, 294, 321
HH’s courtship of, 74–75, 76–77, 89–90, 91, 95, 97, 105–9
HH’s drug use and, 84–85, 290, 299–300, 301, 302–3, 304
in move to L.A., 158–59, 170
wedding and honeymoon of, 109–10
Hancock, Herbie:
AC Cobra of, 51–53, 59–60, 191, 215
advertising jingles by, 89–90, 113–14, 168, 176
African culture celebrated by, 120, 178, 179, 287
analytical approach of, 16–17, 21, 22, 43, 87, 114, 155, 292, 296, 323–24
artist collaboration albums with, 298, 309–13, 316, 323–24, 325–28
awards and nominations of, 245, 246, 272–75, 293–94, 307, 317–21
Benny Go
odman gigs of, 93–94
Black Power movement and, 113, 119–20
boyhood piano playing by, 3–4, 9–12, 19–20, 21–23, 330
Buddhism and, 16, 153–58, 159–61, 170–73, 179, 181, 182, 189, 194, 204–5, 207–8, 209, 230, 231, 244, 263, 266, 271, 279–80, 287, 291, 298, 303, 304, 318, 319, 320, 326, 328–29, 331, 332
Byrd’s apartment shared by, 38–39, 49
changes in musical direction of, 165–67, 169–70, 172–74, 175, 176, 181, 184, 185, 214, 234, 235, 236–40, 246–47, 287–88, 292, 306
Chick Corea’s tour with, 201–3, 218
childhood and adolescence of, 3–4, 5, 6–23, 40, 42, 43, 80, 87, 227, 287
churchgoing and, 15–16, 154, 155
in Conrad Silvert’s jazz concert, 232, 233
controlling of emotions by, 17, 19, 87, 265, 270–71
creative technological modifications used by, 143–44, 145–46, 149–50, 192–93, 196, 208–10, 211–14, 217–18
development of own musical style by, 48, 110, 114, 136
in Donald Byrd’s band, 33–35, 37–38, 39, 55, 77
drinking by, 40, 83–84, 106, 304
drug use of, 39–40, 82, 83, 84–87, 125–26, 235, 247, 248–49, 289–91, 299–304, 305
early gigs of, 27–28, 30–34
earnings of, 37–38, 50–51, 168
electronic equipment and gadgets used by, 80–81, 103, 136, 139–40, 143–44, 146, 180, 196, 210–14, 236, 244–45, 261, 262, 278, 285–86
electronic instruments used by, 103–4, 105, 117, 137, 139, 143–44, 150, 170, 175, 177, 180, 183, 185, 186–87, 190, 193, 196, 208, 212, 214, 219, 220–21, 245, 281, 282–83
Eric Dolphy tour joined by, 47–48, 56, 141
exploration and creation of new musical sounds by, 101–3, 112, 115, 133, 134, 136, 143–44, 150, 168, 180, 186–87, 193, 211–12, 236, 282, 284, 287–88, 306, 327–28
family background of, 4–6
Fat Albert soundtrack by, 116–17, 170
first PC of, 214–17, 220