Herbie Hancock: Possibilities
Tags: #music #jazz #memoir #creativity #technology #innovation #spirituality
Authors: Herbie Hancock, Lisa Dickey
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Overview
My memoir Possibilities traces a musical journey from my childhood on Chicago’s South Side to the world stage. I invite readers into the creative process, sharing insights into my approach to music, the lessons I’ve learned from mentors like Miles Davis, and the transformative power of Nichiren Buddhism. I offer a glimpse into the dynamic world of jazz, its evolution through different genres, and my own exploration of electronic music and technological innovation. I address the challenges of race and addiction, the complexities of collaboration and leadership, and the importance of remaining true to one’s artistic vision. My story emphasizes the importance of embracing possibilities, turning adversity into opportunity, and continually striving for creative growth. It is a testament to the power of music to transcend boundaries and connect us to a deeper sense of humanity.
Book Outline
1. CHAPTER ONE
It was with Miles Davis that I truly learned to embrace possibilities and approach music, and life, with an open mind. This meant not judging, but listening, being in the moment, and trusting myself to respond in a way that turned the unexpected into something beautiful and new.
Key concept: Don’t judge – just listen. As soon as I played that ‘wrong’ chord onstage I judged it. In my mind it was the ‘wrong’ chord. But Miles never judged it – he just heard it as a sound that had happened, and he instantly took it on as a challenge…And because he didn’t judge it, he was able to run with it, to turn it into something amazing.
2. CHAPTER TWO
Growing up on Chicago’s South Side, I went to a predominantly black school. Attending the integrated Hyde Park High School expanded my horizons and exposed me to people of different backgrounds and cultures. It was there that I met my first white classmates and embraced the philosophy of not letting race define my experiences.
Key concept: I had skipped a grade in elementary school, so I was young for a freshman – just twelve when I first set foot in the halls of Hyde Park. We weren’t really supposed to go to school there, since we didn’t live in Hyde Park’s district, but it was better academically than the high school in our district, so my mother was determined to send us there.
3. CHAPTER THREE
It was after witnessing a classmate improvise on the piano that I knew I wanted to play jazz. I dove headfirst into learning how to improvise, studying the techniques of jazz greats like George Shearing. Even as I pursued a degree in electrical engineering at Grinnell College, I spent countless hours studying, learning, and analyzing music. The pull of jazz was too strong to resist.
Key concept: “Well, if you like what I did, the first thing you need to do is get yourself some George Shearing records.” He told me to listen to how Shearing played and then try to imitate the parts I liked.
4. CHAPTER FOUR
Moving to New York City in 1961 to play with Donald Byrd’s band was a dream come true. Landing in the heart of the vibrant jazz scene, I embraced the city’s energy and the opportunity to learn from some of the best jazz musicians in the world. My time in New York marked a significant period of growth and discovery, both personally and musically.
Key concept: Birdland was a legendary jazz club, where all the greats had been coming to play since 1949. There was a sign out front calling it THE JAZZ CORNER OF THE WORLD, and it really did feel like that…
5. CHAPTER FIVE
Playing with Miles Davis was a master class in jazz improvisation. He gave us freedom to explore and experiment, pushing our boundaries and fostering a musical dialogue that was always evolving. Miles rarely gave explicit instructions, preferring to inspire through cryptic comments and challenges, allowing us to find our own voices within the music.
Key concept: Miles never said much about our playing. He just wasn’t the kind of leader who gave notes or made suggestions unless we asked him to.
6. CHAPTER SIX
It was in a New York City jazz club, on Halloween night in 1964, that I met my wife, Gigi. The beginning of our relationship coincided with my joining Miles Davis’s band, and while Miles discouraged us from bringing girlfriends to gigs, Gigi’s presence became an important part of my life, expanding my horizons beyond music and offering a balance to the intensity of my creative endeavors.
Key concept: “Don’t bring no bitches to the gig”, he said. “Everybody plays different.” We knew what he meant: Whenever a guy brings his girlfriend to a gig, he ends up playing to impress her.
7. CHAPTER SEVEN
The key to learning jazz improvisation is to imitate the masters. Deconstruct their playing style, transcribe their phrases, and analyze their techniques. This approach, coupled with a deep understanding of music theory, allows you to absorb the fundamental elements of improvisation, providing a foundation for developing your own unique voice.
Key concept: Whenever people ask me how to learn to improvise, I tell them the same thing Don told me: Find a player you like, and then copy what he or she is doing.
8. CHAPTER EIGHT
Inspired by the orchestral sound of Gil Evans’s work with Miles Davis, I sought to capture a similar effect using a smaller number of instruments. Experimentation and an analytical approach to music production were essential in achieving this unique sound, which I later explored further with the Mwandishi band.
Key concept: Whenever people ask me how to learn to improvise, I tell them the same thing Don told me: Find a player you like, and then copy what he or she is doing.
9. CHAPTER NINE
After leaving Miles’s band, I formed my own sextet, exploring a new musical direction that challenged traditional boundaries. This led to my first concept album, The Prisoner, which focused on social and political themes related to the civil rights movement.
Key concept: I had one more album to do under my contract with Blue Note, so I began making plans to record with the sextet. But I started to realize that even though Blue Note was the preeminent jazz label, and very good at marketing to jazz fans, they really weren’t set up to support music that went beyond those boundaries.
10. CHAPTER TEN
The late 1960s and early 1970s were a time of social and cultural upheaval. The Mwandishi band embraced this spirit of exploration, not only musically but in our lifestyle choices. We were influenced by the civil rights movement, Eastern religions, and a desire for a healthier, more conscious way of living. This period of change and discovery deeply impacted our music.
Key concept: We were on the road a lot, and it wasn’t easy to find restaurants that made dishes without meat. San Francisco was never a problem, because we could just go to the Haight, where the hippies and flower children hung out…
11. CHAPTER ELEVEN
The Mwandishi band’s identity was shaped by our embrace of African culture, spirituality, and a collective desire to use our music to express a social and political consciousness. This shift in direction marked a new phase in our musical journey.
Key concept: From that point on, the nature of the band started to shift. Technically we were still the Herbie Hancock Sextet, but soon people started calling us the Mwandishi band.
12. CHAPTER TWELVE
The Mwandishi band’s sound evolved through a combination of intuition, experimentation, and deep listening. We created a unique sonic environment that blended jazz, funk, and global influences, pushing musical boundaries and connecting with audiences on a spiritual level. This period marked the peak of the band’s creative synergy.
Key concept: The music we created was right on the mark, because it resonated with everybody, across the board. The timing was right, and our attitude about the music was right, right on down to the promotion of it. This was an explosion of creativity and innovation in a direction no one had ever gone in before. It was our time.
13. CHAPTER THIRTEEN
Opening for the Pointer Sisters at the Troubadour in 1973 was a turning point. It made me realize that while the Mwandishi band’s music resonated with a devoted niche audience, it required more work from the listener. I wanted to find a way to reach a wider audience without compromising our artistic integrity.
Key concept: Seeing the effect they had on the crowd just about turned my head inside out. The Pointer Sisters were fun. They were out there showing people a good time, lifting everybody’s spirits with their light, happy vibe. When Mwandishi took the stage, the vibe was very different, because although our stuff was great, it was serious.
14. CHAPTER FOURTEEN
Moving away from the experimental, avant-garde sounds of Mwandishi, I formed the Headhunters, a funk band that incorporated elements of jazz and R&B. This new musical direction, with its catchy grooves and infectious rhythms, proved to be a more accessible and commercially successful sound.
Key concept: After I wrote the Minimoog bass line for ‘Home Grown,’ I played it for David Rubinson. Now, David was not only a producer and manager, but he was also a drummer. He listened to the line and said, ‘Why don’t you add a little syncopation?’
15. CHAPTER FIFTEEN
Instead of making a record and then promoting it through live performances, I reversed the process. We honed our new funk sound in clubs, letting the audience reaction guide us in refining the music before we recorded it.
Key concept: Normally a band will make a record and then play in clubs and concerts to support it. But I decided to do the opposite. We spent a few weeks playing our new songs in clubs all over the San Francisco Bay Area – the Haight, Mill Valley, Berkeley – to see how people responded.
16. CHAPTER SIXTEEN
Don’t let external pressures dictate your creative direction. Stay true to your own artistic vision and explore ideas that resonate with you, even if they challenge conventional notions of what is commercially viable or expected. The authenticity of your creative expression will ultimately connect with the right audience.
Key concept: My first instinct was not to do it, because I knew it would smell of trying to make a commercial record for the sake of money, not quality. Over the years I’d heard many people accuse me of doing exactly that, and I never minded because I knew it wasn’t true.
17. CHAPTER SEVENTEEN
A lifelong fascination with technology and a deep desire to understand how things work fueled my passion for electronic music. Experimenting with new instruments and gadgets allowed me to explore a vast sonic landscape and break new musical ground.
Key concept: From the time I was very young, I had the ability – the compulsion, really – to get completely absorbed in whatever I was doing. I was obsessed with mechanical things, and I’d spend hours taking apart clocks and watches…
18. CHAPTER EIGHTEEN
The dynamics within a band can be complex and challenging. As a bandleader, it’s essential to create a shared vision and foster a sense of unity and collaboration. Balancing the needs of individual musicians with the overall direction of the band is a delicate but crucial aspect of leadership.
Key concept: It’s not the typical setup for a jazz band… The guys wanted to be paid as sidemen, at a level that matched their skills. But I saw the Mwandishi band as a collective: When we made money, we all made money, and when we didn’t, we didn’t.
19. CHAPTER NINETEEN
Embracing new challenges can lead to unexpected opportunities. The 1976 Newport Jazz Festival retrospective was a testament to the evolution of my music, showcasing the distinct styles and sounds of the Miles Davis Quintet, Mwandishi, and the Headhunters.
Key concept: The only problem was, George said yes. He got really excited, especially about the idea of having three separate bands appear at the retrospective.
20. CHAPTER TWENTY
The magic of a particular musical moment can be fleeting and impossible to recapture. The 1976 V.S.O.P. reunion at Newport was a unique event that showcased the brilliance of that specific lineup and the power of collective improvisation, but it also highlighted the ephemeral nature of creative synergy.
Key concept: “Let’s make this special, a onetime thing – either you saw it or you didn’t, but either way it will never happen again.”
21. CHAPTER TWENTY-ONE
Facing adversity, whether personal or professional, can be an opportunity for growth and transformation. In the face of relationship challenges, I learned to trust and to let go of control, recognizing that true happiness comes from within and that each person must be responsible for their own fulfillment.
Key concept: I could not believe what I’d just heard. But she meant every word of it. From that day forward she chose to trust in my feelings for her, and she became more independent, and more centered, than I could have imagined.
22. CHAPTER TWENTY-TWO
Addiction is a serious issue that can have devastating consequences. Facing my own struggles with drug addiction was a painful but necessary journey. It taught me the importance of honesty, accountability, and the power of seeking help when needed.
Key concept: This was a turning point for me, in terms of doing cocaine. I realized that I could have ruined my reputation completely, and while it’s easy to ruin your reputation, it’s almost impossible to get it back.
23. CHAPTER TWENTY-THREE
The practice of Nichiren Buddhism, with its emphasis on chanting, has been an integral part of my life for over forty years. It has not only provided me with spiritual guidance but has also profoundly influenced my music, teaching me the importance of turning adversity into opportunity, the power of chanting for specific goals, and the interconnectedness of all things.
Key concept: When I first started chanting, I focused on the survival of Mwandishi. A year later, as Mwandishi was unraveling, I started focusing on what was coming next.
24. CHAPTER TWENTY-FOUR
We are all part of a global community, interconnected and interdependent. Embracing cultural diversity and fostering collaboration are essential for addressing the challenges facing humanity. Music, and the arts in general, can be a powerful tool for promoting dialogue, understanding, and positive change.
Key concept: What if the planet were run like a jazz collective? What if we could find a way to harness globalization for the common good, rather than just suffering from its ill effects?
Essential Questions
1. How has embracing possibilities shaped your musical journey?
My entire life has been a journey of embracing possibilities, a concept I learned at an early age when Miles Davis challenged me to integrate a ‘wrong’ chord into a song. This experience, and the teachings of Nichiren Buddhism, taught me the value of remaining open to the unexpected, letting go of judgment, and trusting my intuition to turn perceived mistakes into creative breakthroughs. This approach has guided my musical journey, from my early days playing with Miles Davis to my exploration of electronic music and beyond.
2. What has been the driving force behind your musical exploration?
My musical exploration wasn’t driven by a calculated plan for commercial success but by a deep desire to express myself authentically. While I’ve always wanted my music to reach a wider audience, the driving force behind my creative choices has always been to explore new sounds, push boundaries, and stay true to my own artistic vision. Commercial success, when it came, was a byproduct of that authenticity, not the primary goal.
3. How has Nichiren Buddhism impacted your life and music?
Nichiren Buddhism has been an integral part of my life for over 40 years, profoundly impacting not only my music but also my approach to life’s challenges. It taught me to turn adversity into opportunity, to chant for specific goals, and to view obstacles as catalysts for growth. The practice has helped me overcome addiction, deal with the loss of my sister, and deepen my understanding of myself and the world around me.
4. How have race and racism shaped your experiences and your music?
As a black musician navigating a racially charged society, I faced challenges and prejudice throughout my life. From my childhood on Chicago’s South Side to navigating interracial relationships and witnessing the civil rights movement, the issue of race has always been present. Embracing my heritage and using my platform to address social issues became integral to my musical journey.
Key Takeaways
1. Embrace Possibilities
The unexpected can often lead to the most exciting breakthroughs. Throughout my career, I’ve learned to embrace the unknown, allowing the music to guide me in new and unexpected directions. From integrating a ‘wrong’ chord into a song with Miles Davis to incorporating the sounds of scratching into my music, I’ve found that stepping outside my comfort zone and letting go of judgment can lead to the most exciting musical discoveries.
Practical Application:
In a tech startup, embracing possibilities could mean being open to pivoting your product based on user feedback, even if it deviates from your initial roadmap. It could also involve encouraging a culture of experimentation and not punishing ‘failed’ experiments, as long as valuable lessons are learned.
2. Embrace Technology and Innovation
Throughout my career, I’ve been driven by a deep curiosity and a desire to understand how things work. This led me to embrace electronic music and explore the endless possibilities of synthesizers and computers in creating new sounds. It’s important to always remain open to learning and experimenting, allowing technology to be a tool for pushing musical boundaries and expressing oneself in new and exciting ways.
Practical Application:
For an AI product engineer, this could mean resisting the urge to stick to a specific algorithm or approach just because it’s familiar. Instead, they should actively seek out new research and techniques, even if they come from outside their area of expertise. They should also be willing to experiment with different approaches and let go of preconceived notions about what will work.
3. Embrace Cultural Diversity
From my childhood on Chicago’s South Side to attending a diverse high school and traveling the world with Miles Davis, I’ve learned the value of embracing different cultures and perspectives. Exposing oneself to diverse viewpoints broadens one’s understanding of the world and enriches the creative process. It is through this lens that I sought to create truly ‘global’ music, incorporating musicians and musical styles from around the world.
Practical Application:
An AI product engineer can apply this by actively seeking diverse perspectives when designing a product. They could conduct user research with people from various backgrounds and cultures to understand their needs and expectations. They should also encourage a culture of open dialogue and respect within their team, allowing everyone to contribute their unique perspectives and ideas.
Suggested Deep Dive
Chapter: Chapter Five
This chapter provides invaluable insights into the working dynamic of the Miles Davis Quintet and Herbie’s personal growth as a musician under Miles’s mentorship. His anecdotes about Miles’s leadership style, musical philosophy, and approach to improvisation are particularly relevant for understanding the creative process in a collaborative setting. The parallels drawn between musical improvisation and responding to the unexpected in AI development are noteworthy.
Memorable Quotes
Chapter One. 8
It took me years to fully understand what happened in that moment onstage. As soon as I played that chord I judged it. In my mind it was the ‘wrong’ chord. But Miles never judged it—he just heard it as a sound that had happened, and he instantly took it on as a challenge, a question of How can I integrate that chord into everything else we’re doing? And because he didn’t judge it, he was able to run with it, to turn it into something amazing.
Chapter One. 14
From the time I was very young, I had the ability—the compulsion, really—to get completely absorbed in whatever I was doing. I was obsessed with mechanical things, and I’d spend hours taking apart clocks and watches, poking around inside. I just had a driving need to understand how a thing worked, and if I couldn’t figure it out, I’d block out everything else and focus obsessively until I got it.
Chapter Two. 26
Improvisation—truly being in the moment—means exploring what you don’t know. It means going into that dark room where you don’t recognize things. It means operating on the recall part of your brain, a sort of muscle memory, and allowing your gut to take precedence over your brain.
Chapter Four. 42
By naming my song “Watermelon Man,” I wanted to reclaim the image. Truthfully, I was relieved, because I really did like the song and wanted to record it—and I never could come up with any alternative title that sounded right.
Chapter Five. 58
“Miles, sometimes I just don’t know what to play,” I told him. “Then don’t play nothin’,” he replied, not even looking up. Simple as that.
Comparative Analysis
While Possibilities explores a unique musical journey, it resonates with themes found in other musician memoirs like Miles: The Autobiography. Both books offer insights into the world of jazz and the challenges of collaboration, leadership, and staying true to one’s artistic vision. However, Possibilities distinguishes itself by delving deeper into Herbie’s spiritual journey with Nichiren Buddhism and its profound impact on his music and life. This spiritual element sets Possibilities apart from other musician memoirs, offering a unique perspective on the intersection of creativity, spirituality, and the pursuit of artistic expression.
Reflection
Looking back on my life, it’s clear that music and spirituality have been the two driving forces. I believe music has the power to transcend boundaries and connect us on a deeper level, and my Buddhist practice has given me the tools to navigate the complexities of life and creativity. While some might question my embrace of commercial genres like funk, or my decision to pay tribute to white American composers, I’ve always sought to challenge myself and explore new musical territory while staying true to my own artistic vision. My willingness to experiment and collaborate with artists from diverse backgrounds reflects my belief in the power of music to bridge cultural divides and promote understanding. My journey has been about embracing possibilities, turning adversity into opportunity, and using my platform to create positive change in the world. I believe that music, like life, is a journey of constant exploration and discovery, and I’m excited to see what the future holds.
Flashcards
What is Herbie’s analogy for turning adversity into opportunity?
Turning poison into medicine or transforming lemons into lemonade.
What was Miles Davis’s approach to leading his band?
He encouraged his band members to find their own voice and to express themselves freely. He rarely gave explicit instructions, preferring to inspire through cryptic comments and challenges.
What does Herbie consider the Mwandishi band to be?
Research and Development: constantly exploring, uncovering, and looking for the unseen and unheard in music.
What is jazz-funk fusion?
A musical style that blends elements of jazz and funk.
What is ‘stop time’?
It’s a musical device used in tap dancing to create rhythmic variation by alternating accented beats with silence.
What is the meaning of Herbie’s Swahili name, Mwandishi?
It means ‘composer’ or ‘writer’.
What is significant about the album Getz/Gilberto?
It was the first jazz record to win a Grammy Award for Album of the Year in 1965.