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This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. [ Herbie Hancock has a long history of mixing it upfrom jazz to funk, pop, and everything in between. At the time I did this interview with him in the summer of 1979, he'd been making ventures away from straight-ahead jazz for some time, but they were still fresh enough to have some fans up in arms. From today's perspective, though, it's clear that his eclecticism is a big part of what makes him the grand man of music that he is.] Ever since his 1973 Head Hunters (Columbia) album, Herbie Hancock has been a subject of some controversy in jazz circles. 'Chameleon,' the big hit from the disc, attracted an overwhelming number of rock, pop, and R&B fans to his music, but jazz purists saw Hancock's crossing over as a compromise of his artistic integrity for commercial success. I asked Hancock if he saw himself as a chameleon, variably embracing or letting go of his jazz roots. He answer revealed a very broad, eclectic vision of music.
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Created Date: 3/9/2006 1:37:35 PM. Jan 14, 2012 Enjoy funking out to this uncut, studio rendition of 'Chameleon', from the 1973 album H. I'm tired of great songs being brutally severed into multiple videos.
'I always enjoy working with new forms, new idioms. I take them on as a learning experience, a challenge. 'It's just like learning to speak a few different languages.
Someone might want to write a novel in French because French might be fitting for their concept of the novel. Or they might want to write in Spanish because of a certain concept they have. It's the same type of thing. If you can use several means of expression, you can choose which one you want to use at any given moment. It's not so much coming back to this or coming back to that, or leaving this or leaving that. It's just that there are several choices available.'
Aside from jazz, Hancock has dabbled in many other forms of music. He began his musical education with the study of European classical music. He did film scores for Blow-Up, Michelangelo Antonioni's 1966 modernist classic, and Death Wish, Dino De Laurentiis' 1974 crime thriller, and also did the score for a children's television series with Bill Cosby in 1969, Fat Albert and the Cosby Kids. He has recorded as a sideman for, among others, the Pointer Sisters, Connie Francis,, and Peter, Paul and Mary. His composition 'Maiden Voyage,' which has become a standard for contemporary jazz players, was originally written as the background for a Yardley men's cologne commercial. 'I don't place the value of so-called 'artistic music' over popular music.
Both those options are valuable and available to me. What I choose to do doesn't depend on one being more important than the other. Sometimes the impact of an immediate step can be a great influence on the futurenot just the immediate future, but a long- lasting future.