In jazz and blues, a blue note (also "worried" note) is a note sung or played at a slightly lower pitch than that of the major scale for expressive purposes. Typically the alteration is a semitone or less, but this varies among performers and genres. Country blues, in particular, features wide variations from the diatonic pitches with emotive blue-notes. Blue notes are often seen as akin to relative pitches found in traditional African work songs.

The blue notes are usually said to be the flattened third, flattened fifth, and flattened seventh scale degrees. Though the blues scale has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities". A similar conflict occurs between the notes of the minor scale and the minor blues scale, as heard in songs such as "Why Don't You Do Right?."

In the case of the flattened third over the root (or the flattened seventh over the dominant), the resulting chord is a neutral ''mixed third chord.''

Blue notes are used in many blues songs, in jazz, and in conventional popular songs with a "blue" feeling, such as Harold Arlen's "Stormy Weather." Blue notes are also prevalent in English folk music. Bent or "blue notes", called in Ireland "long notes", play a vital part in Irish music.

See also

Blues scale

Harmonic seventh

References

Category:Musical notes Category:Jazz techniques Category:Blues

da:Blå toner de:Blue Note es:Nota de blues eo:Blusa tono fr:Note bleue gl:Blue note it:Blue note he:בלו נוט nl:Blue note (muziek) ja:ブルー・ノート・スケール no:Blåtone nn:Blåtone oc:Nòta blava nds:Blue Notes pt:Blue note sv:Blå toner tr:Mavi nota uk:Блюзовий лад

Name	Herbie Hancock
Landscape	yes
Background	non_vocal_instrumentalist
Birth name	Herbert Jeffrey Hancock
Alias	Herbie Hancock
Born	April 12, 1940Chicago, IllinoisUnited States
Instrument	piano, synthesizer, organ, clavinet, keytar, vocoder
Genre	Jazz, bebop, post bop, jazz fusion, hard bop, jazz-funk, funk, R&B;, electro funk, classical
Occupation	Musician, composer, bandleader
Years active	1961–present
Label	Columbia, Blue Note, Verve, Warner Bros. Records
Associated acts	Miles Davis Quintet, Jaco Pastorius, Stevie Wonder
Website	Official website of Herbie Hancock }}

Herbert Jeffrey "Herbie" Hancock (b. April 12, 1940) is an American pianist, bandleader and composer. As part of Miles Davis's "second great quintet," Hancock helped to redefine the role of a jazz rhythm section and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace music synthesizers and funk music (characterized by syncopated drum beats). Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.

Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album ''River: The Joni Letters'' won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award after Getz/Gilberto in 1965.

As a member of Soka Gakkai, Hancock is an adherent of the Nichiren school of Mahayana Buddhism.

On 22 July 2011 at a ceremony in Paris, Hancock was named UNESCO Goodwill Ambassador for the promotion of Intercultural Dialogue.

Early life and career

Hancock was born in Chicago, Illinois. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 5 at a young people's concert with the Chicago Symphony at age eleven.

Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's:

..by the time I actually heard the Hi-Lo's, I started picking that stuff out; my ear was happening. I could hear stuff and that's when I really learned some much farther-out voicings -like the harmonies I used on 'Speak Like a Child' -just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it music after two years.

In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student. Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. (He later graduated from Grinnell, which also awarded him an honorary Doctor of Fine Arts degree in 1972). Donald Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album ''Takin' Off'' for Blue Note Records in 1962. "Watermelon Man" (from ''Takin' Off'') was to provide Mongo Santamaría with a hit single, but more importantly for Hancock, ''Takin' Off'' caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band.

Miles Davis quintet and Blue Note

Hancock received considerable attention when, in May 1963, he joined Miles Davis's "second great quintet." This new band was essentially Miles Davis surrounded by fresh, new talent. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Tony Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet would gel with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been especially praised for its innovation and flexibility.

The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment – using quartal harmony and Debussy-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the later half of the sixties their approach became so sophisticated and unorthodox that conventional chord changes would hardly be discernible; hence their improvisational concept would become known as "Time, No Changes".

While in the Davis' band, Hancock also found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Wayne Shorter, Tony Williams, Grant Green, Bobby Hutcherson, Sam Rivers, Donald Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard.

His albums ''Empyrean Isles'' (1964) and ''Maiden Voyage'' (1965) were to be two of the most famous and influential jazz LPs of the sixties, winning praise for both their innovation and accessibility (the latter demonstrated by the subsequent enormous popularity of the ''Maiden Voyage'' title track as a jazz standard, and by the jazz rap group US3 having a hit single with "Cantaloop" (derived from "Cantaloupe Island" on ''Empyrean Isles'') some twenty five years later). ''Empyrean Isles'' featured the Davis rhythm section of Hancock, Carter and Williams with the addition of Freddie Hubbard on cornet, while ''Maiden Voyage'' also added former Davis saxophonist George Coleman (with Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the post-bop style. Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles – ''My Point of View'' (1963), ''Speak Like a Child'' (1968) and ''The Prisoner'' (1969) featured flugelhorn, alto flute and bass trombone. 1963's ''Inventions and Dimensions'' was an album of almost entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo Martinez.

During this period, Hancock also composed the score to Michelangelo Antonioni's film ''Blowup'', the first of many soundtracks he recorded in his career.

Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved to be instrumental in his future artistic endeavors.

Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued to appear on Miles Davis records for the next few years. Noteworthy appearances include ''In a Silent Way'', ''A Tribute to Jack Johnson'' and ''On the Corner''.

''Fat Albert'' and ''Mwandishi''

Hancock left Blue Note in 1969, signing up with Warner Bros. Records. In 1969, Hancock composed the soundtrack for the Bill Cosby animated children's television show ''Fat Albert and the Cosby Kids''. Titled ''Fat Albert Rotunda'', the album was mainly an R&B;-influenced album with strong jazz overtones. One of the jazzier songs on the record, "Tell Me A Bedtime Story", was later re-worked as a more electronic sounding song for the Quincy Jones album, ''Sounds...and Stuff Like That''.

Hancock became fascinated with accumulating musical gadgets and toys. Together with the profound influence of Davis's ''Bitches Brew'', this fascination would culminate in a series of albums in which electronic instruments are coupled with acoustic instruments.

Hancock's first ventures into electronic music started with a sextet comprising Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson (trumpet), Julian Priester (trombone), and multireedist Bennie Maupin. Dr. Patrick Gleeson was eventually added to the mix to play and program the synthesizers. In fact, Hancock was one of the first jazz pianists to completely embrace electronic keyboards.

The sextet, later a septet with the addition of Gleeson, made three experimental albums under Hancock's name: ''Mwandishi'' (1971), ''Crossings'' (1972) (both on Warner Bros. Records), and ''Sextant'' (1973) (released on Columbia Records); two more, '' Realization'' and ''Inside Out'', were recorded under Henderson's name with essentially the same personnel. The music often had very free improvisations and showed influence from the electronic music of some contemporary classical composers.

Synthesizer player Patrick Gleeson, one of the first musicians to play synthesizer on any jazz recording, introduced the instrument on ''Crossings'', released in 1972, one of a handful of influential electronic jazz/fusion recordings to feature synthesizer that same year. On ''Crossings'' (as well as on ''I Sing the Body Electric''), the synthesizer is used more as an improvisatory global orchestration device than as a strictly melodic instrument. This reflected Gleeson's (and Powell's) interest in contemporary European electronic music techniques and in the West Coast synthesis techniques of Morton Subotnick and other contemporaries, several of whom were resident at one time or another, as was Gleeson, at The Mills College Tape Music Center. An early review of ''Crossings'' in Downbeat magazine complained about the synthesizer, but a few years later the magazine noted in a cover story on Gleeson that he was "a pioneer" in the field of electronics in jazz. Gleeson used a modular Moog III for the recording of the album, but used an ARP 2600 synthesizer, and occasionally an ARP Soloist for the group's live performances. On ''Sextant'' Gleeson used the more compact ARP synthesizers instead of the larger Moog III for both studio and live performances. In the albums following ''The Crossings'', Hancock started to play synth himself and unlike Gleeson, he plays it as a melodical and rhythm instrument just like electric pianos.

Hancock's three records released in 1971–1973, became later known as the "Mwandishi" albums, so-called after a Swahili name Hancock sometimes used during this era (''Mwandishi'' is Swahili for ''writer''). The first two, including ''Fat Albert Rotunda'' were made available on the 2-CD set ''Mwandishi: the Complete Warner Bros. Recordings'', released in 1994, but are now sold as individual CD editions. Of the three electronic albums, ''Sextant'' is probably the most experimental since the Arp synthesizers are used extensively, and some advanced improvisation ("post-modal free impressionism") is found on the tracks "Hornets" and "Hidden Shadows" (which is in the meter 19/4). "Hornets" was later revised on the 2001 album ''Future2Future'' as "Virtual Hornets".

Among the instruments Hancock and Gleeson used were Fender Rhodes piano, ARP Odyssey, ARP 2600, ARP Pro Soloist Synthesizer, a Mellotron and the Moog synthesizer III.

All three Warner Bros. albums ''Fat Albert Rotunda'', ''Mwandishi'', and ''Crossings'', were remastered in 2001 and released in Europe but were not released in the U.S.A. as of June 2005. In the Winter of 2006–2007 a remastered edition of Crossings was announced and scheduled for release in the Spring.

Headhunters and Death Wish

After the sometimes "airy" and decidedly experimental "Mwandishi" albums, Hancock was eager to perform more "earthy" and "funky" music. The ''Mwandishi'' albums – though these days seen as respected early fusion recordings – had seen mixed reviews and poor sales, so it is probable that Hancock was motivated by financial concerns as well as artistic restlessness. Hancock was also bothered by the fact that many people did not understand avant-garde music. He explained that he loved funk music, especially Sly Stone's music, so he wanted to try to make funk himself.

He gathered a new band, which he called The Headhunters, keeping only Maupin from the sextet and adding bassist Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason. The album ''Head Hunters'', released in 1973, was a major hit and crossed over to pop audiences, though it prompted criticism from some jazz fans. Head Hunters was recorded at Different Fur studios.

Despite charges of "selling out", Stephen Erlewine of ''Allmusic'' positively reviewed the album amongst other friendly critics, saying, "''Head Hunters'' still sounds fresh and vital three decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop."

Mason was replaced by Mike Clark, and the band released a second album, ''Thrust'', the following year. (A live album from a Japan performance, consisting of compositions from those first two ''Head Hunters'' releases was released in 1975 as ''Flood''. The record has since been released on CD in Japan.) This was almost as well-received as its predecessor, if not attaining the same level of commercial success. The Headhunters made another successful album (called ''Survival of the Fittest'') without Hancock, while Hancock himself started to make even more commercial albums, often featuring members of the band, but no longer billed as The Headhunters. The Headhunters reunited with Hancock in 1998 for ''Return of the Headhunters'', and a version of the band (featuring Jackson and Clark) continues to play live and record.

In 1973, Hancock composed his second masterful soundtrack to the controversial film ''The Spook Who Sat By The Door''. Then in 1974, Hancock also composed the soundtrack to the first ''Death Wish'' film. One of his memorable songs, "Joanna's Theme", would later be re-recorded in 1997 on his duet album with Wayne Shorter ''1 + 1''.

Hancock's next jazz-funk albums of the 1970s were ''Man-Child'' (1975), and ''Secrets'' (1976), which point toward the more commercial direction Hancock would take over the next decade. These albums feature the members of the 'Headhunters' band, but also a variety of other musicians in important roles.

Back to the Basics: VSOP and the Future Shock

During late 1970s and early 1980s, Hancock toured with his "V.S.O.P." quintet, which featured all the members of the 1960s Miles Davis quintet except Davis, who was replaced by trumpet giant Freddie Hubbard. There was constant speculation that one day Davis would reunite with his classic band, but he never did so. VSOP recorded several live albums in the late 1970s, including ''VSOP'' (1976), and ''VSOP: The Quintet'' (1977).

In 1978, Hancock recorded a duet with Chick Corea, who had replaced him in the Miles Davis band a decade earlier. He also released a solo acoustic piano album titled ''The Piano'' (1978), which, like so many Hancock albums at the time, was initially released only in Japan. (It was finally released in the US in 2004.) Several other Japan-only releases have yet to surface in the US, such as ''Dedication'' (1974), ''VSOP: Tempest in the Colosseum'' (1977), and ''Direct Step'' (1978). ''Live Under the Sky'' was a VSOP album remastered for the US in 2004, and included an entire second concert from the July 1979 tour.

From 1978–1982, Hancock recorded many albums consisting of jazz-inflected disco and pop music, beginning with ''Sunlight'' (featuring guest musicians like Tony Williams and Jaco Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit, "I Thought It Was You", although critics were unimpressed. This led to more vocoder on the 1979 follow-up, ''Feets, Don't Fail Me Now'', which gave him another UK hit in "You Bet Your Love". The video won five different categories at the inaugural MTV Video Music Awards. This single ushered in a collaboration with noted bassist and producer Bill Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: ''Future Shock'' (1983), ''Sound-System'' (1984) and ''Perfect Machine'' (1988). Despite the success of "Rockit", Hancock's trio of Laswell-produced albums (particularly the latter two) are among the most critically derided of his entire career, perhaps even more so than his erstwhile pop-jazz experiments. Hancock's level of actual contribution to these albums was also questioned, with some critics contending that the Laswell albums should have been labelled "Bill Laswell featuring Herbie Hancock".

During this period, he appeared onstage at the Grammy awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in a famous synthesizer jam (The video on Youtube can be found here.). Lesser known works from the 80s are the live album ''Jazz Africa'' and the studio album ''Village Life'' (1984) which were recorded with Gambian kora player Foday Musa Suso. Also, in 1985 he performed as a guest on the album So Red The Rose by the Duran Duran shoot off group Arcadia. He also provided introductory and closing comments for the PBS rebroadcast in the United States of the BBC educational series from the mid-1980s, ''Rockschool'' (not to be confused with the most recent ''Gene Simmons' Rock School'' series).

In 1986, Hancock performed and acted in the film '''Round Midnight''. He also wrote the score/soundtrack, for which he won an Academy Award for Original Music Score. Often he would write music for TV commercials. "Maiden Voyage", in fact, started out as a cologne advertisement. At the end of the ''Perfect Machine'' tour, Hancock decided to leave Columbia Records after a 15-plus-year relationship.

As of June 2005, almost half of his Columbia recordings have been remastered. The first three US releases, ''Sextant'', ''Head Hunters'' and ''Thrust'' as well as the last four releases ''Future Shock'', ''Sound-System'', the soundtrack to ''Round Midnight'' and ''Perfect Machine''. Everything released in America from ''Man-Child'' to ''Quartet'' has yet to be remastered. Some albums, made and initially released in the US, were remastered between 1999 and 2001 in other countries such as ''Magic Windows'' and ''Monster''. Hancock also re-released some of his Japan-only releases in the West, such as ''The Piano.''

1990s and later

After leaving Columbia, Hancock took a break. Then, with friends Ron Carter, Tony Williams, Wayne Shorter, and Davis admirer Wallace Roney, they recorded ''A Tribute to Miles'' which was released in 1994. The album contained two live recordings and studio recording classics with Roney playing Davis's part as trumpet player. The album won a Grammy for best group album. He also toured with Jack DeJohnette, Dave Holland and Pat Metheny in 1990 on their Parallel Realities tour, which included a memorable performance at the Montreux Jazz Festival in July 1990.

Hancock's next album, ''Dis Is Da Drum'' released in 1994 saw him return to Acid Jazz. Also in 1994, Hancock appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time Magazine.

1995's ''The New Standard'' found him and an all-star band including John Scofield, Jack DeJohnette and Michael Brecker interpreting pop songs by Nirvana, Stevie Wonder, The Beatles, Prince, Peter Gabriel and others. A 1997 duet album with Wayne Shorter titled ''1 + 1'' was successful, the song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition, and Hancock also achieved great success in 1998 with his album ''Gershwin's World'' which featured inventive readings of George & Ira Gershwin standards by Hancock and a plethora of guest stars including Stevie Wonder, Joni Mitchell and Shorter. Hancock toured the world in the support of ''Gershwin's World'' with a sextet that featured Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson.

In 2001, Hancock recorded ''Future2Future'', which reunited Hancock with Bill Laswell and featured doses of electronica as well as turntablist Rob Swift of The X-Ecutioners. Hancock later toured with the band, and released a live concert DVD with a different lineup which also included the "Rockit" music video. Also in 2001, Hancock partnered with Michael Brecker and Roy Hargrove to record a live concert album saluting Davis and John Coltrane called ''Directions in Music: Live at Massey Hall'' recorded live in Toronto. The threesome toured t support the album, and have toured on and off through 2005.

2005 saw the release of a duet album called ''Possibilities''. It features duets with Carlos Santana, Paul Simon, Annie Lennox, John Mayer, Christina Aguilera, Sting and others. In 2006, ''Possibilities'' was nominated for Grammy awards in two categories: "A Song For You", featuring Christina Aguilera was nominated for a Grammy Award for Best Pop Instrumental Performance, and "Gelo No Montanha", featuring Trey Anastasio on guitar was nominated for a Grammy Award for Best Instrumental Performance. Neither nomination resulted in an award.

Also in 2005, Hancock toured Europe with a new quartet that included Beninese guitarist Lionel Loueke, and explored textures ranging from ambient to straight jazz to African music. Plus, during the Summer of 2005, Hancock re-staffed the famous Head Hunters and went on tour with them, including a performance at The Bonnaroo Music & Arts Festival.

However, this lineup did not consist of any of the original Headhunters musicians. The group included Marcus Miller, Terri Lyne Carrington, Lionel Loueke and John Mayer. Hancock also served as the first artist in residence for Bonnaroo that summer.

Also in 2006, Sony BMG Music Entertainment (which bought out Hancock's old label, Columbia Records) released the two-disc retrospective ''The Essential Herbie Hancock''. This two-disc set is the first compilation of Herbie's work at Warner Bros. Records, Blue Note Records, Columbia and at Verve/Polygram. This became Hancock's second major compilation of work since the 2002 Columbia-only "The Herbie Hancock Box" which was released at first in a plastic 4x4 cube then re-released in 2004 in a long box set. Hancock also in 2006, recorded a new song with Josh Groban and Eric Mouquet (co-founder of Deep Forest) titled "Machine". It is featured on Josh Groban's CD "Awake". Hancock also recorded and improvised with guitarist Lionel Loueke on Loueke's debut album Virgin Forest on the ObliqSound label in 2006, resulting in two improvisational tracks "Le Réveil des Agneaux (The Awakening of the Lambs)" and "La Poursuite du lion (The Lion's Pursuit)".

Hancock, a longtime associate and friend of Joni Mitchell released a 2007 album, ''River: The Joni Letters'', that paid tribute to her work. Norah Jones and Tina Turner recorded vocals, as did Corinne Bailey Rae, and Leonard Cohen contributed a spoken piece set to Hancock's piano. Mitchell herself also made an appearance. The album was released on September 25, simultaneously with the release of Mitchell's album ''Shine''. "River" was nominated for and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honor. The album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for Best Instrumental Jazz Solo.

Recently Hancock performed at the Shriner's Children's Hospital Charity Fundraiser with Sheila E, Jim Brickman, Kirk Whalum and Wendy Alane Wright.

His latest work includes assisting the production of the Kanye West track "RoboCop", found on 808s & Heartbreak.

On June 14, 2008, Hancock performed at Rhythm on the Vine at the South Coast Winery in Temecula, California for Shriners Hospital for Children. Other performers at the event, that raised $515,000 for Shriners Hospital, were contemporary music artist Jim Brickman, and Sheila E. & the E. Family Band.

On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for American President Barack Obama. Hancock also performed the Rhapsody in Blue at the 2009 Classical BRIT Awards with classical pianist Lang Lang. Hancock was named as the Los Angeles Philharmonic's creative chair for jazz for 2010–12. In June 2010, Hancock released his newest album, ''The Imagine Project''.

On June 5, 2010, Hancock received an Alumni Award from his alma mater, Grinnell College.

Discography

{| cellspacing="0" cellpadding="2" border="0" |- style="background:#ffdead;" ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Title ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Year ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Label |- | style="border-bottom:1px solid grey;" | ''Takin' Off'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1962 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''My Point of View'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1963 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Inventions and Dimensions'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1963 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Empyrean Isles'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1964 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Maiden Voyage'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Blow-Up'' (Soundtrack) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | MGM |- | style="border-bottom:1px solid grey;" | ''Speak Like a Child'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1968 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Prisoner'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1969 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Fat Albert Rotunda'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1969 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Warner Bros. |- | style="border-bottom:1px solid grey;" | ''Mwandishi'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1970 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Warner Bros. |- | style="border-bottom:1px solid grey;" | ''He Who Lives In Many Places'' (with bassist Terry Plumeri) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1971 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Airborne. |- | style="border-bottom:1px solid grey;" | ''Crossings'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1972 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Warner Bros. |- | style="border-bottom:1px solid grey;" | ''Sextant'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1973 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Head Hunters'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1973 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Thrust'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1974 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Death Wish'' (Soundtrack) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1974 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Dedication'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1974 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Man-Child'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1975 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Flood'' (Live album) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1975 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Secrets'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1976 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''VSOP'' (Live album) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1976 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Herbie Hancock Trio'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1977 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''VSOP: The Quintet'' (Live album) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1977 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''VSOP: Tempest in the Colosseum'' (Live album) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1977 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Sunlight'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1977 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Directstep'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1978 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''An Evening with Herbie Hancock & Chick Corea: In Concert'' (Live album with Chick Corea) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1978 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''The Piano'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1979 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Feets, Don't Fail Me Now'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1979 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''VSOP: Live Under the Sky'' (Live album) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1979 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''CoreaHancock'' (Live album with Chick Corea) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1979 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Polydor |- | style="border-bottom:1px solid grey;" | ''Monster'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1980 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Mr. Hands'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1980 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Herbie Hancock Trio'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1981 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Magic Windows'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1981 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Lite Me Up'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Quartet'' (Live album) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Future Shock'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1983 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Sound-System'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1984 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Village Life'' (with Foday Musa Suso) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1985 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Round Midnight'' (Soundtrack) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1986 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Jazz Africa'' (Live album with Foday Musa Suso) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1987 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Polygram |- | style="border-bottom:1px solid grey;" | ''Perfect Machine'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1988 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''A Tribute to Miles'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1994 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Qwest/Warner Bros. |- | style="border-bottom:1px solid grey;" | ''Dis Is Da Drum'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1994 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Verve/Mercury |- | style="border-bottom:1px solid grey;" | ''The New Standard'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1995 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Verve |- | style="border-bottom:1px solid grey;" | ''1 + 1'' (with Wayne Shorter) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1997 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Verve |- | style="border-bottom:1px solid grey;" | ''Gershwin's World'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1998 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Verve |- | style="border-bottom:1px solid grey;" | ''Future2Future'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2001 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Transparent |- | style="border-bottom:1px solid grey;" | ''Directions in Music: Live at Massey Hall'' (Live album) | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2002 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Verve |- | style="border-bottom:1px solid grey;" | ''Possibilities'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2005 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Concord/Hear Music |- | style="border-bottom:1px solid grey;" | ''River: The Joni Letters'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2007 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Verve |- | style="border-bottom:1px solid grey;" | ''Then and Now: the Definitive Herbie Hancock'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2008 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Verve |- | style="border-bottom:1px solid grey;" | ''The Imagine Project'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2010 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Hancock |}

Filmography

As a Leader

2000: '' Dejohnette, Hancock, Holland and Metheny – Live in Concert''

2002: ''Herbie Hancock Trio: Hurricane!'' with Ron Carter and Billy Cobham

2002: '' The Jazz Channel Presents Herbie Hancock (BET on Jazz)'' with Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson

2004: ''Herbie Hancock – Future2Future Live''

2006: ''Herbie Hancock – Possibilities'' with John Mayer, Christina Aguilera, Joss Stone, and more

Awards

Academy Awards

1986, Original Soundtrack, for ''Round Midnight''

Grammy Awards

# 1984, Best R&B; Instrumental Performance, for ''Rockit'' # 1985, Best R&B; Instrumental Performance, for ''Sound-System'' # 1988, Best Instrumental Composition, for ''Call Sheet Blues'' # 1995, Best Jazz Instrumental Performance, Individual Or Group, for ''A Tribute to Miles'' # 1997, Best Instrumental Composition, for ''Manhattan (Island Of Lights And Love)'' # 1999, Best Instrumental Arrangement Accompanying Vocal(s), for ''St. Louis Blues'' # 1999, Best Jazz Instrumental Performance, Individual Or Group, for ''Gershwin's World'' # 2003, Best Jazz Instrumental Album, Individual or Group, for ''Directions in Music: Live at Massey Hall'' # 2003, Best Jazz Instrumental Solo, for ''My Ship'' # 2005, Best Jazz Instrumental Solo, for ''Speak Like a Child'' # 2008, Album of the Year, for ''River: The Joni Letters'' # 2008, Best Contemporary Jazz Album, for ''River: The Joni Letters'' # 2011, Best Improvised Jazz Solo, for ''A Change Is Gonna Come'' # 2011, Best Pop Collaboration with Vocals, for ''Imagine''

Playboy Music Poll

Best Jazz Group, 1985

Best Jazz Keyboards, 1985

Best Jazz Album – Rockit, 1985

Best Jazz Keyboards, 1986

Best R&B; Instrumentalist, 1987

Best Jazz Instrumentalist, 1988

Keyboard Magazine's Readers Poll

Best Jazz & Pop Keyboardist, 1983

Best Jazz Pianist, 1987

Best Jazz Keyboardist, 1987

Best Jazz Pianist, 1988

Other notable awards

MTV Awards (5 awards in total) – Best Concept Video – ''Rockit'', 1983–84

Gold Note Jazz Awards – NY Chapter of the National Black MBA Association, 1985

French Award Officer of the Order of Arts & Letters-Paris, 1985

BMI Film Music Award "Round Midnight", 1986

U.S. Radio Award "Best Original Music Scoring – Thom McAnn Shoes", 1986

Los Angeles Film Critics Association "Best Score – Round Midnight", 1986

BMI Film Music Award "Colors", 1989

Miles Davis Award, granted by the Montreal International Jazz Festival, 1997

Soul Train Music Award "Best Jazz Album – The New Standard", 1997

Festival International Jazz de Montreal Prix Miles Davis, 1997

VH1's 100 Greatest Videos "Rockit" is "10th Greatest Video", 2001

NEA Jazz Masters Award, 2004

Downbeat Magazine Readers Poll Hall of Fame, 2005

References

External links

Official website of Herbie Hancock

Official Herbie Hancock MySpace page

Herbie Hancock at Verve Records

River:The Joni Letters at Verve Records

Possibilities Herbie Hancock

Discography Herbie Hancock Discography

Interview with Herbie Hancock on music and technology from AppleMatters

Interview with Herbie Hancock on the "Possibilities" album release from LiveDaily

Herbie Hancock: Outside The Comfort Zone Herbie Hancock interview from JamBase

"Herbie Hancock: Essential Recordings" by Ted Gioia (www.jazz.com)

Herbie Hancock's Grinnell College Alumni Award citation from Grinnell College Alumni Assembly on June 5, 2010.

Category:1940 births Category:20th-century classical composers Category:African American songwriters Category:American Buddhists Category:American funk keyboardists Category:American jazz bandleaders Category:American jazz composers Category:American jazz pianists Category:Musicians from Chicago, Illinois Category:Best Original Music Score Academy Award winners Category:Grammy Award winners Category:Grinnell College alumni Category:Hard bop pianists Category:Jazz fusion pianists Category:Jazz-funk pianists Category:Living people Category:Miles Davis Category:Blue Note Records artists Category:Modal jazz pianists Category:Post-bop pianists Category:Converts to Buddhism Category:Members of Soka Gakkai Category:Keytarists

an:Herbie Hancock bn:হার্বি হ্যানকক ca:Herbie Hancock cs:Herbie Hancock da:Herbie Hancock de:Herbie Hancock es:Herbie Hancock eo:Herbie Hancock fr:Herbie Hancock gl:Herbie Hancock io:Herbie Hancock id:Herbie Hancock it:Herbie Hancock he:הרבי הנקוק ka:ჰერბი ჰენკოკი hu:Herbie Hancock nl:Herbie Hancock ja:ハービー・ハンコック no:Herbie Hancock oc:Herbie Hancock nds:Herbie Hancock pl:Herbie Hancock pt:Herbie Hancock ru:Хэнкок, Херби sk:Herbie Hancock fi:Herbie Hancock sv:Herbie Hancock th:เฮอร์บี แฮนค็อก tr:Herbie Hancock uk:Гербі Генкок

Magnificent Seven or Magnificent 7 may refer to:

''The Magnificent Seven'', a 1960 western film

''The Magnificent Seven'' (TV series), a 1997–2000 television series based on the 1960 film

Magnificent Seven, London, a group of London cemeteries constructed in the 19th century

Magnificent Seven (gymnastics), 1996 United States Olympic Women's Gymnastics Team

''Magnificent Seven'' (professional wrestling), a group of WCW professional wrestling heels in 2001.

The ''Magnificent Seven'', an alternative nickname to the ''Unsinkable Seven'', the seven survivors of the 1963 and 1968 East African Safari Rally

''The Magnificent 7'' (album), by The Supremes and The Four Tops.

"The Magnificent Seven (song)", a single by The Clash

"The Magnificent Seven" (''Supernatural''), an episode of the television series ''Supernatural''

The Magnificent Seven, a set of seven programme badges created by Scouting Ireland S.A.I. in the late 1990s

''Magnificent 7'', a 2005 BBC drama featuring Helena Bonham Carter as Maggi—a character based on Jacqui Jackson

''The Magnificent Seven Deadly Sins'' was a 1971 motion picture

See also

''The Maxnificent Seven'', a Mighty Max cartoon episode

7

it:Magnificent Seven pl:Magnificent Seven ru:Великолепная семёрка (значения)

name	Toby Keith
background	solo_singer
birth name	Toby Keith Covel
birth date	July 08, 1961
origin	Clinton, Oklahoma, U.S.
instrument	Vocals, guitar
genre	Country
occupation	Singer-songwriter, record producer, actor
years active	1993–present
label	Mercury Records NashvillePolydorA&M;DreamWorks NashvilleShow Dog-Universal (formerly of Show Dog Nashville)
associated acts	Carter's Chord, Scotty Emerick, Lindsey Haun, Mac McAnally, Bobby Pinson, Trailer Choir, Stephen Cochran, Willie Nelson
website	TobyKeith.com }}

Toby Keith Covel (born July 8, 1961), best known as Toby Keith, is an American country music singer-songwriter, record producer and actor. Keith released his first four studio albums — 1993's ''Toby Keith'', 1994's ''Boomtown'', 1996's ''Blue Moon'' and 1997's ''Dream Walkin''', plus a Greatest Hits package for various divisions of Mercury Records before exiting in 1998. These albums all earned gold or higher certification, and produced several chart singles, including his debut "Should've Been a Cowboy", which topped the country charts and was the most played country song of the 1990s. The song has received three million spins since then, according to Broadcast Music Incorporated.

Signed to Nashville DreamWorks in 1998, Keith released his breakthrough single "How Do You Like Me Now?!" that year. This song, the title track to his 1999 album of the same name, was the Number One country song of 2000, and one of several chart-toppers during his tenure on DreamWorks Nashville. His next three albums, ''Pull My Chain'', ''Unleashed'', and ''Shock'n Y'all'', produced three more Number Ones each, and all of the albums were certified multi-platinum. A second Greatest Hits package followed in 2004, and after that, he released ''Honkytonk University''.

When Dreamworks closed in 2005, Keith founded his own label, Show Dog Nashville, which became part of Show Dog-Universal Music in December 2009. He has released five studio albums on this label: 2006's ''White Trash with Money'', 2007's ''Big Dog Daddy'', 2008's ''That Don't Make Me a Bad Guy'', 2009's ''American Ride'' and 2010's ''Bullets in the Gun'' as well as the compilation ''35 Biggest Hits''. He has also signed several other acts to the label, including Trailer Choir, Carter's Chord, Flynnville Train, Trace Adkins, Mac McAnally and Mica Roberts. Keith also made his acting debut in 2005, starring in the film ''Broken Bridges'' and co-starred with comedian Rodney Carrington in the 2008 film ''Beer for My Horses''.

Keith has released thirteen studio albums, two Christmas albums, and multiple compilation albums. He has also charted more than forty singles on the ''Billboard'' Hot Country Songs charts, including nineteen Number One hits and sixteen additional Top Ten hits. His longest-lasting Number One hits are "Beer for My Horses" (a 2003 duet with Willie Nelson) and "As Good as I Once Was" (2005), at six weeks each.

Early life

Toby Keith was born in Clinton, Oklahoma, the son of Carolyn Joan (''née'' Ross) and Hubert K. Covel Jr. He has a sister, Tonni, and a brother, Tracy. The family lived in Fort Smith, Arkansas, for a few years when Toby was in grade school, but moved to Moore, Oklahoma (a suburb of Oklahoma City) when he was still young. Before the family moved to Moore, he visited his grandmother in Fort Smith during the summers. His grandmother owned Billie Garner's Supper Club in Fort Smith, where Keith became interested in the musicians who came there to play. He did odd jobs around the supper club and started getting up on the bandstand to play with the band. He got his first guitar at the age of eight. After the family moved to Moore, Oklahoma, Keith attended Highland West Junior High and Moore High School, where he played defensive end on a football team.

Keith graduated from Moore High School and worked as a derrick hand in the oil fields. He worked his way up to become an operation manager. At the age of 20, he and his friends Scott Webb, Keith Cory and Danny Smith, with a few others, formed the band Easy Money, which played at local bars as he continued to work in the oil industry. At times, he would have to leave in the middle of a concert if he was paged to work in the oil field.

In 1982, the oil industry in Oklahoma began a rapid decline and Keith soon found himself unemployed. He fell back on his football training and played defensive end with the semi-pro Oklahoma City Drillers while continuing to perform with his band. (The Drillers were an unofficial farm club of the United States Football League's Oklahoma Outlaws; Keith tried out for the Outlaws but did not make the team.) He then returned to focus once again on music. His family and friends were doubtful he would succeed, but in 1984, Easy Money began playing the honky tonk circuit in Oklahoma and Texas. The band cut a single titled "Blue Moon", which received some airplay on local radio stations in Oklahoma.

Career

In the early 1990s, Keith went to Nashville, Tennessee, where he hung out and busked on Music Row and at a place called Houndogs. He distributed copies of a demo tape the band had made to the many record companies in the city. There was no interest by any of the record labels, and Keith returned home feeling depressed. He had promised himself to have a recording contract by the time he was 30 years old or give up on music as a career, and had already passed that age without any prospects for a contract.

Fortunately for Keith, a flight attendant and fan of his gave a copy of Keith's demo tape to Harold Shedd, a Mercury Records executive, while he was traveling on a flight she was working. Shedd enjoyed what he heard, went to see Keith perform live and then signed him to a recording contract with Mercury. His debut single, "Should've Been a Cowboy" (1993), went to number 1 on the Billboard country singles chart, and his self-titled debut album was certified platinum. Other hit singles included "A Little Less Talk and a Lot More Action" and "Wish I Didn't Know Now".

Keith was moved to Polydor Records and released his next album, ''Boomtown'' (1994), then was moved to A & M Records Nashville, as those two labels merged and released ''Blue Moon'' (1996). The albums went gold and platinum, respectively. In 1996, Keith was also featured on the Beach Boys' now out-of-print 1996 album ''Stars and Stripes Vol. 1'' performing a cover of their 1963 hit "Be True to Your School" with the Beach Boys themselves providing the harmonies and backing vocals.

A & M decided to fold their country division and Keith moved back to Mercury Records (now called Mercury Nashville), and released his fourth album, ''Dream Walkin'''' (1997). The album featured a duet with Sting, "I'm So Happy I Can't Stop Crying", which had previously been a hit for Sting himself.

The first single off ''How Do You Like Me Now?!'' failed to make the Top 40 on the country charts. However, the follow-up single, which was the album's title track, went on to spend five weeks at number one, helping boost the album's sales to double platinum.

In 2002, he released the ''Unleashed'' album which included hit singles, "Who's Your Daddy?", "Beer for My Horses", and "Courtesy of the Red, White, & Blue".

On November 9, 2004, Keith released a remake of James Taylor and Carly Simon's "Mockingbird", a duet with his daughter, Krystal. They performed the song on the 2004 Country Music Awards. The song reached top 25 on the charts.

Keith was the subject of the January 2005 issue of ''Playboy''s Playboy Interview. That year, Keith toured with rock guitarist Ted Nugent, whom Keith met in Iraq while they were both performing in USO-sponsored shows for the coalition troops.

On August 31, 2005, Keith parted ways with Universal Music Group — which had since bought DreamWorks — and launched his own record label, Show Dog Nashville. Its first release was Keith's album ''White Trash with Money'', followed by the soundtrack to ''Broken Bridges''. ''Big Dog Daddy'', which featured his single "High Maintenance Woman", was released on June 12, 2007. The album debuted at the top of the Billboard 200 charts, his third album to reach this feat, after ''Unleashed'' and ''Shock'n Y'all''.

He recorded a duet with Jimmy Buffett, "Piece of Work", which was featured on Buffett's album ''License to Chill''.

In 2008, Toby Keith completed his Biggest and Baddest Tour. On May 6, 2008, he released his ''35 Biggest Hits'' 2CD set. The set was certified Platinum in August 2008.

In July 2008, Toby Keith released his new single, "She Never Cried in Front of Me". A new album, ''That Don't Make Me a Bad Guy'', followed on October 28, 2008.

In 2009, Keith toured the U.S. with fellow country star Trace Adkins on a tour known as America's Toughest Tour. The concert series was kicked off on June 18, 2009 at PNC Bank Performing Arts Center in Holmdel, New Jersey. Keith did a free show earlier in the day at Asbury Park's famous Stone Pony.

Keith's thirteenth studio album, ''American Ride'', was released on October 6, 2009.

In 2010, Keith performed on another USO tour, this time in South Korea.

A new studio album, ''Bullets in the Gun'', was released on October 5, 2010.

Television appearances

Keith performed on a series of television advertisements for Telecom USA for that company's discount long distance telephone service 10-10-220. He also starred in Ford commercials, singing original songs such as "Ford Truck Man" and "Field Trip (Look Again)" while driving Ford trucks.

Keith made an appearance at the very first Total Nonstop Action Wrestling (then NWA-TNA) weekly pay-per-view on June 19, 2002, where his playing of "Courtesy of the Red, White and Blue" was interrupted by Jeff Jarrett. He would later enter the Gauntlet for the Gold main event, suplexing Jarrett and eliminating him from the match. A short video of the suplex is seen in the clip package when he goes onstage. He would appear the next week, on June 26, and help Scott Hall defeat Jarrett in singles action.

Toby Keith received the "Colbert Bump" when he appeared on Comedy Central's ''The Colbert Report''. He holds the distinction of being the only musical artist to have received a five star rating from Stephen Colbert on iTunes. Keith furthered this connection when he appeared in Colbert's 2008 Christmas Special as a hunter.

Acting

In the Autumn of 2005, he filmed ''Broken Bridges'', written by Cherie Bennett and Jeff Gottesfeld, and directed by Steven Goldmann. This feature film from Paramount/CMT Films was released on September 8, 2006. In this contemporary story set in small-town Tennessee, Keith plays Bo Price, a washed-up country musician. The movie also stars Kelly Preston, Burt Reynolds, Tess Harper, and Lindsey Haun.

Keith wrote and starred in the 2008 movie ''Beer for My Horses'', which is based on the 2003 hit song of the same name recorded by Keith and Willie Nelson.

Other business ventures

In 2005, Keith opened Toby Keith's I Love This Bar & Grill in Oklahoma City, Oklahoma, as well as Tulsa, Oklahoma, and now has restaurants in Auburn Hills, Michigan, Kansas City, Las Vegas and Tempe, Arizona. Toby Keith does not actually own the new restaurants; the new restaurant is the first in a franchise under Scottsdale, Arizona-based Capri Restaurant Group Enterprises LLC, which purchased the master license agreement to build more Toby Keith restaurants nationwide. Capri Restaurant Group is owned by Frank Capri, who opened the restaurant in Mesa in the shopping center known as Mesa Riverview and is planning on opening multiple locations across the country. In 2009, Capri Restaurant Group announced that it will open another I Love this Bar & Grill location in Pittsburgh, Pennsylvania's South Side Works shopping and entertainment district.

In February 2010 a new Toby Keith's I Love This Bar & Grill opened in the Winstar World Casino, exit 1 on Interstate 35 in Oklahoma. The Capri Restaurant Group opened two locations in 2010 in Great Lakes Crossing in Auburn Hills, Michigan and in the Shops at West End in St. Louis Park, Minnesota. Expected to open in late 2011 is the location at The Shops at Oyster Point in Newport News, Virginia.

Keith also established a line of clothing, "TK Steelman", in early 2009.

Toby Keith also supports Ally's House, a non-profit organization in Oklahoma designed to aid children with cancer. Of the charity, Keith said:

In 2011 Toby Keith also started showing his love for the flavors of Mexico by introducing a new drink named “Wild Shot". At first it was only available in Mexico, but now is sold and served in America. It is also a featured drink in his restaurant chain "I Love this Bar and Grill".

Political beliefs

Since 2002, Keith has made numerous trips to the Middle East to bring entertainment and encouragement to the men and women serving on or near the front lines. “My father was a soldier. He taught his kids to respect veterans,” said Keith. “It’s that respect and the thank-you that we have a military that’s in place and ready to defend our nation; our freedom.”

In 2004, Keith called himself "a conservative Democrat who is sometimes embarrassed for his party". He endorsed the re-election of President George W. Bush in the 2004 presidential election and performed at a Dallas, Texas, rally on the night before the election. Keith also endorsed Democrat Dan Boren in his successful run in Oklahoma's 2nd congressional district and is good friends with former Democratic New Mexico Governor Bill Richardson. In a January 2007 interview with ''Newsday'', Keith was asked whether he supported the Iraq War. He responded with "Never did," and said he favors setting a time limit on the campaign. He also said, "I don't apologize for being patriotic... If there is something socially incorrect about being patriotic and supporting your troops, then they can kiss my ass on that, because I'm not going to budge on that at all. And that has nothing to do with politics. Politics is what's killing America."

In April 2008, Keith said that Barack Obama "looks like a great speaker and a great leader. And I think you can learn on your feet in there, so I don't hold people responsible for not having a whole bunch of political background in the House and Senate." At the same time he remarked, "I think [John] McCain is a great option too." In August 2008, he called Obama "the best Democratic candidate we've had since Bill Clinton".

In October 2008, Keith told CMT that he had left the Democratic Party and has re-registered as in independent. "My party that I've been affiliated with all these years doesn't stand for anything that I stand for anymore," he says. "They've lost any sensibility that they had, and they've allowed all the kooks in. So I'm going independent." He also told CMT that he would likely vote for the Republican ticket, partially because of his admiration for Sarah Palin.

In March 2009, Keith received the Johnny "Mike" Spann Memorial Semper Fidelis Award during a New York ceremony held by the Marine Corps-Law Enforcement Foundation. The trophy is named for the CIA operative (and former Marine Corps captain) who was the first U.S. casualty in the war in Afghanistan. "Spending time with our soldiers around the world is something I've always regarded as a privilege and honor," he said. "I'm certainly happy to accept this award, but I won't forget for a second who's really doing the heavy lifting to keep this country safe. And that's why I'll keep going back and spending time with those good folks every chance I get."

In April 2009, he voiced support for Obama on Afghanistan and other decisions: "He hired one of my best friends who I think should run for president someday...Gen. James Jones as a national security adviser. He's sending troops into Afghanistan, help is on the way there. And I'm seeing some really good middle range stuff. I'm giving our commander in chief a chance before I start grabbing. So far, I'm cool with it."

Courtesy of the Red, White & Blue

On March 24, 2001, Keith’s father, H.K. Covel, was killed in a car accident. That event and the September 11 attacks in 2001 prompted Keith to write the song "Courtesy of the Red, White, & Blue", a song about his father’s patriotism and faith in the United States. At first, Keith refused to record the song and sang it only live at his concerts for military personnel. The reaction was so strong that the Commandant of the Marine Corps James L. Jones told Keith it was his "duty as an American citizen" to record the song. As the lead single from the album ''Unleashed'' (2002), "Courtesy of the Red, White, & Blue" peaked at number one over the Fourth of July weekend.

ABC invited Keith to sing "Courtesy of the Red, White, & Blue" on a 2002 Fourth of July concert it was producing, then rescinded the invitation after host Peter Jennings heard the song and vetoed it. Jennings said the song “probably wouldn’t set the right tone.” "I find it interesting that he's not from the U.S.," Keith said of Jennings, who was Canadian. "I bet Dan Rather'd let me do it on his special."

Feud with the Dixie Chicks

Keith had a public feud with the Dixie Chicks over the song "Courtesy of the Red, White, & Blue", in 2003 as well as over comments they made about President George W. Bush on stage during a concert in London. The lead singer of the Dixie Chicks, Natalie Maines, publicly stated that Keith's song was "ignorant, and it makes country music sound ignorant." Keith responded by belittling Maines' songwriting skills, and by displaying a backdrop at his concerts showing a doctored photo of Maines with Iraqi dictator Saddam Hussein. On May 21, 2003, Maines wore a T-shirt with the letters "FUTK" on the front at the Academy of Country Music Awards. While a spokesperson for the Dixie Chicks said that the acronym stood for "Friends United in Truth and Kindness," many, including host Vince Gill, took it to be a shot at Keith ("Fuck You Toby Keith"). In an October 2004 appearance on ''Real Time with Bill Maher'', Maines finally confessed that it was indeed a shot at Toby Keith, and that she "thought that nobody would get it."

In August 2003, Keith's representation publicly declared he was done feuding with Maines "because he's realized there are far more important things to concentrate on". Keith was referring specifically to the terminal illness of a former bandmate's daughter, Allison Faith Webb. However, he continues to refuse to say Maines' name, and claims that the doctored photo was intended to express his opinion that Maines' criticism was an attempt to squelch Keith's free speech.

In an announcement in April 2008, a commercial spot to promote Al Gore's "We Campaign" involving both the Dixie Chicks and Toby Keith was proposed. However, the idea was eventually abandoned due to scheduling conflicts.

Personal life

On March 24, 1984, Keith married Tricia Lucus. He is the father of three children; two daughters Shelley (born 1980, adopted by Toby in 1984) and Krystal (born 1985), one son, Stelen (born 1997) and has one granddaughter (born 2008; mother is Shelley). An avid University of Oklahoma sports fan, Keith is often seen at Oklahoma Sooners games and practices. He is also a fan of professional wrestling, being seen in the front row of numerous WWE shows that take place in Oklahoma, as well as performing "Courtesy of the Red, White, & Blue (The Angry American)" live at the first ever TNA Wrestling show on June 19, 2002.

On March 24, 2001, Keith's father was killed in a car accident on Interstate 35. On December 25, 2007, the Covel family was awarded $2.8 million for the wrongful death of H.K. Covel. Elias and Pedro Rodriguez, operators of Rodriguez Transportes of Tulsa, and the Republic Western Insurance Co. were found liable as they failed to properly equip the charter bus with properly working air brakes.

Tours

Brooks & Dunn's Neon Circus & Wild West Show 2001

Unleashed Tour 2002

Big Throwdown Tour 2004

Shock'N Y'all Tour 2005

White Trash With Money Tour 2006

Hookin' Up & Hangin' Out Tour 2007

*with Miranda Lambert

Big Dog Daddy Tour 2007

Biggest & Baddest Tour 2008-2009

*with Montgomery Gentry and Trailer Choir

America's Toughest Tour 2009

*with Trace Adkins Also Julianne Hough(Few Dates)

Toby Keith's American Ride Tour 2010

*with Trace Adkins & James Otto

Locked & Loaded Tour 2011

*with Eric Church

Discography

Studio albums

''Toby Keith'' (1993)

''Boomtown'' (1994)

''Blue Moon'' (1996)

''Dream Walkin''' (1997)

''How Do You Like Me Now?!'' (1999)

''Pull My Chain'' (2001)

''Unleashed'' (2002)

''Shock'n Y'all'' (2003)

''Honkytonk University'' (2005)

''White Trash with Money'' (2006)

''Big Dog Daddy'' (2007)

''That Don't Make Me a Bad Guy'' (2008)

''American Ride'' (2009)

''Bullets in the Gun'' (2010)

''Clancy's Tavern'' (2011)

Compilation albums

''Greatest Hits Volume One'' (1998)

''20th Century Masters: The Millennium Collection'' (2003)

''Greatest Hits 2'' (2004)

''35 Biggest Hits'' (2008)

Christmas albums

''Christmas to Christmas'' (1995)

''A Classic Christmas'' (2007)

Number one singles

"Should've Been a Cowboy"

"Who's That Man"

"Me Too"

"How Do You Like Me Now?!"

"You Shouldn't Kiss Me Like This"

"I'm Just Talkin' About Tonight"

"I Wanna Talk About Me"

"My List"

"Courtesy of the Red, White, & Blue (The Angry American)"

"Who's Your Daddy?"

"Beer for My Horses" (duet with Willie Nelson)

"I Love This Bar"

"American Soldier"

"Whiskey Girl"

"As Good as I Once Was"

"Love Me If You Can"

"She Never Cried in Front of Me"

"God Love Her"

"American Ride"

Notable awards

American Music Awards

2002 Favorite Country Album - "Unleashed"

2003 Favorite Country Album - "Shock'n Y'all"

2003 Favorite Country Male Artist

2005 Favorite Country Male Artist

Academy of Country Music

2000 Album of the Year - "How Do You Like Me Now?!"

2000 Top Male Vocalist

2002 Entertainer of the Year

2003 Album of the Year - "Shock'n Y'all"

2003 Entertainer of the Year

2003 Top Male Vocalist

2003 Video of the Year with Willie Nelson - "Beer for My Horses"

Country Music Association

2001 Male Vocalist of the Year

Billboard

Country Artist Of The Decade

American Country Awards

Visionary Artist Award at the Inagural American Country Awards, given out on Monday, December 6, 2010.

Notes

External links

Toby Keith official website

Category:1961 births Category:Actors from Oklahoma Category:American baritones Category:American country singer-songwriters Category:American record producers Category:DreamWorks Records artists Category:Living people Category:Mercury Records artists Category:Musicians from Oklahoma Category:People from Custer County, Oklahoma Category:Oklahoma Music Hall of Fame inductees Category:Show Dog-Universal Music artists

cs:Toby Keith da:Toby Keith pdc:Toby Keith de:Toby Keith et:Toby Keith es:Toby Keith fr:Toby Keith no:Toby Keith pt:Toby Keith ru:Кит, Тоби simple:Toby Keith sv:Toby Keith

name	John Scofield
landscape	yes
background	non_vocal_instrumentalist
born	December 26, 1951 Dayton, Ohio, United States
genre	Jazz, jazz fusion
instrument	Guitar
occupation	Musician, songwriter
associated acts	Miles Davis, Medeski Martin & Wood
label	EmArcy Records, Verve, Blue Note, Gramavision, Enja
years active	1970s-Present
website	www.johnscofield.com
notable instruments	Ibanez Artstar AS200 }}

John Scofield (born December 26, 1951, Dayton, Ohio), often referred to as "Sco," is an American jazz guitarist and composer, who has played and collaborated with Miles Davis, Dave Liebman, Joe Henderson, Charles Mingus, Joey Defrancesco, Herbie Hancock, Pat Metheny, Bill Frisell, Pat Martino, Mavis Staples, Phil Lesh, Billy Cobham, Medeski Martin & Wood, George Duke, Jaco Pastorius, John Mayer, and many other well known artists. At ease in the bebop idiom, Scofield is also well versed in jazz fusion, funk, blues, soul, and other forms of modern American music.

Biography

Early in his life, Scofield's family left Ohio and relocated to the small, then mostly rural location of Wilton, Connecticut; it was here that he discovered his interest in music.

Educated at the Berklee College of Music, Scofield eventually left school to record with Chet Baker and Gerry Mulligan. He joined the Billy Cobham/George Duke Band soon after and spent two years playing, recording and touring with them. Scofield recorded with Charles Mingus in 1976, and replaced Pat Metheny in Gary Burton's quartet. In autumn 1976 he signed a contract with Enja Records, and he released his first album, ''John Scofield'', in 1977. Around this time, he toured and recorded with Pianist Hal Galper, first on his own solo album ''Rough House'' in 1978, and Galper's album ''Ivory Forest'' (1980), where he is heard playing a solo rendition of Thelonious Monk's "Monk's Mood". In 1979 he formed a trio with his mentor Steve Swallow and Adam Nussbaum which, with drummer Bill Stewart replacing Nussbaum, has become the signature group of Scofield's career. In 1982, he joined Miles Davis, with whom he remained for three and a half years. He contributed tunes and guitar work to three Davis recordings, ''Star People'', ''You're under Arrest'' and ''Decoy''.

While still with Davis, he released the first of his Gramavision recordings ''Electric Outlet'' (1984). ''Still Warm'' (1985) followed after he left Davis's group. At the end of the Davis tenure, he started what is now referred to as his Blue Matter Band - with Dennis Chambers on drums, Gary Grainger on bass and at times either Robert Aries or Jim Beard on keyboards - releasing ''Blue Matter'', ''Loud Jazz'' and ''Pick Hits Live''.

At the beginning of the 1990s, he formed his quartet that included Joe Lovano with whom he recorded several important albums for Blue Note Records. ''Time on My Hands'' (1990), with Lovano, Charlie Haden and Jack DeJohnette, showcased Scofield's guitar and Mingus-influenced writing. Bill Stewart subsequently became the group's drummer, and played on ''Meant To Be'' (1991) and ''What We Do'' (1993). In 1992, Scofield released ''Grace Under Pressure'', featuring fellow guitarist Bill Frisell, with Charlie Haden on bass and Joey Baron on drums. Stewart rejoined with Scofield and bassist Steve Swallow for the 1994 collaboration with Pat Metheny, ''I Can See Your House from Here''.

Towards the end of his tenure with Blue Note, Scofield returned to a more funk and soul jazz-oriented sound, a direction which has dominated much of his subsequent output. In 1994 and 1995, Scofield formed a core group that included organist/pianist Larry Goldings, bassist Dennis Irwin, and alternately drummers, Bill Stewart and Idris Muhammad. The group toured extensively, and the albums ''Hand Jive'' and ''Groove Elation'' feature this funk/groove/soul dimension in Scofield's music, bringing in tenor saxophonist Eddie Harris, percussionist Don Alias, trumpeter Randy Brecker, and others. He recorded the acclaimed 1997 album ''A Go Go'' with the avant garde jazz trio Medeski Martin & Wood. Also during this period, his relationship began with British composer Mark-Anthony Turnage. First as a soloist on Turnage's ''Blood on the Floor: Elegy for Andy'', the two paired up to create ''Scorched'', Turnage's orchestrations of Scofield compositions largely form the Blue Matter period. ''Scorched'', a recording available on Deutsche Grammophon, debuted in Frankfurt, Germany.

He released ''Überjam'' in 2002 and ''Up All Night'' in 2004, two albums on which he experiments with drum n bass and other modern rhythms. John Scofield has also worked and recorded in Europe with nu-fusionist Bugge Wesseltoft New Conception of Jazz in 2001/2 and 2006. Late 2004 saw the release of ''EnRoute: John Scofield Trio LIVE'', which features the jazz trio of John Scofield, the venerable Steve Swallow on bass and Bill Stewart on drums. It was recorded live at The Blue Note in NYC in December 2003. The next year, he released ''That's What I Say - JS plays the music of Ray Charles'' - Scofield with an all-star guest studded collection of Ray Charles material. This led to a series of performances with Mavis Staples, Gary Versace on organ, John Benitez on bass, and Steve Hass on drums.

After sitting in for two engagements in December (3rd & 4th) of 2005 with Phil Lesh and Friends, Scofield has since played numerous shows with the band. Most recently, on June 3 at Mountain Jam, which took place in Hunter, NY the first weekend of June 2007.

On September 26, 2006 he released ''Out Louder'', his second collaborative effort album with avant garde jazz trio Medeski Martin & Wood. The group, known collectively as MSMW toured extensively worldwide in 2006 and 2007, with sporadic engagements planned in the future. Scofield also performs as a duo with John Medeski - aptly named The Johns and another groove trio with Scofield, Medeski and drummer Adam Deitch.

September 18, 2007 saw ''This Meets That'' released on EmArcy Records - Universal Music's jazz label, a record featuring his trio with Steve Swallow and Bill Stewart. This time John added a horn section to expand the sound of his trio.

Never one to follow an expected path, in recent years Scofield launched a personal search for musical inspiration beyond the standard 12 bar blues and found it in "old time gospel music - the closest relative to and inspiration for the R& B.” His 2009 release ''Piety Street'' with bass legend George Porter, Jr. and singer/keyboardist Jon Cleary. The collaboration heard on the 2010 release ''54'' had its origins back in the 90's when Vince Mendoza asked John Scofield to play on his first album. John has since been featured on two of Vince’s records and his guitar sound and improvisational skills work well within Vince’s concept. When Mendoza assumed directorship of The Metropole Orchestra, he and Scofield decided to collaborate again with a primary focus on Mendoza’s arrangements of Scofield compositions as performed with The Metropole Orchestra.

In a return to Scofieldesque "straight ahead" jazz, he went to the studio in January 2011 with pianist/organist Larry Goldings, bassist Scott Colley and drummer Brian Blade, laying the tracks for a ballads album scheduled for a May 2011 release on EmArcy Records.

In April 2010, Scofield was named an Officier of the Ordre des Arts et des Lettres by the French Ministry of Culture.

Scofield is currently serving as an adjunct faculty member in the Jazz Department at New York University's Steinhardt School of Education.

He married Susan Scofield in 1978. They are the parents of music producer Jean Scofield (b. 1981) and writer Evan Scofield (b. 1987).

Equipment

Scofield endorses Ibanez guitars. His signature guitar, the JSM100, is based on his longtime stage and recording guitar, a 1981 Ibanez AS200 which he believes to be one of the best semi-acoustics ever built. He gets his tone by running a Pro Co RAT through either a Vox AC30 or Mesa Boogie amplifier. Some of his effects include an Ibanez CS9 Analog Chorus, a Line 6 FM4 Filter Modeler, and a Line 6 DL4 Delay Modeler. Some of his additional effects include a DigiTech XP100 Whammy/Wah, a Boss EQ Pedal, a Boss Loop Station, and a Boomerang phrase sampler pedal. John Scofield uses Dunlop Delrin 2 mm picks.

Discography

As leader & co-leader

''John Scofield Live'' (1977) - Enja Records

''John Scofield aka East Meets West'' (1977) - Trio Records/Black-Hawk Records, Bellophon Records

''Rough House'' (1978) - Enja Records

''Who's Who?'' (1979) - Arista/Novus

''Bar Talk'' (1980) - Jive/Novus

''Out Like a Light'' (1981) - Enja Records

''Shinola'' (1981) - Enja Records

''Electric Outlet'' (1984) - Gramavision

''Still Warm'' (1985) - Gramavision

''Blue Matter'' (1986) - Gramavision

''Loud Jazz'' (1987) - Gramavision

''Pick Hits Live'' (1987) - Gramavision

''Flat Out'' (1989) - Gramavision

''Time on My Hands'' (1990) - Blue Note

''Meant To Be'' (1991) - Blue Note

''Grace Under Pressure'' (1992) - Blue Note

''What We Do'' (1993) - Blue Note

''I Can See Your House From Here'' (1994) - w/Pat Metheny - Blue Note

''Hand Jive'' (1994) - Blue Note

''Groove Elation'' (1995) - Blue Note

''Quiet'' (1996) - Verve

''A Go Go'' with Medeski Martin & Wood(1998) - Verve

''Bump'' (2000) - Verve

''Works For Me'' (2001) - Verve

''Überjam'' (2002) - Verve

''Oh!'' (2003) - as ScoLoHoFo - Blue Note

''Up All Night'' (2003) - Verve

''Scorched'' (2004) - w/Mark-Anthony Turnage - DG Deutsche Grammophon

''EnRoute: John Scofield Trio LIVE'' (2004) - Verve

''That's What I Say: John Scofield Plays the Music of Ray Charles'' (2005) - Verve

''Saudades'' (2006) - as Trio Beyond - ECM

''Out Louder'' (2006) - as Medeski Scofield Martin & Wood - Indirecto

''This Meets That'' (2007) - Emarcy Records

''Piety Street'' (2009) - Emarcy Records

''54'' (2010) - w/Vince Mendoza & The Metropole Orkestra - Emarcy Records

''A Moment's Peace'' (2011) - Emarcy Records

Compilations

''Best of John Scofield'' (1989) - Blue Note

''Slo Sco:The Best of the Ballads'' (1990) - Gramavision

''Liquid Fire: The Best of John Scofield'' (1994) - Gramavision

''Steady Groovin': The Blue Note Groove Sides'' (2000) - Blue Note

As a sideman

With Teodross Avery

''My Generation'' (1996) - Impulse!

With Billy Cobham

''A Funky Thide of Sings'' (1975) - Atlantic

''Life & Times'' (1976) - Wounded Bird Records

With Joe Beck & Larry Coryell

''Tributaries'' (1978) - Arista Novus

With the George Adams-Don Pullen Quartet

''Live at Montmartre'' (Timeless, 1985)

With Miles Davis

''You're Under Arrest'' (1985) - Columbia

''Decoy'' (1984) - Sony Music

''Star People'' (1983) - Sony Music

'''With John Ellis:

''One Foot In The Swamp'' (2005) - Hyena

With David Friesen

''Two for the Show'' (1994) - ITM Pacific

With Bill Goodwin

''Solar Energy'' (1981) - Omni Sound Jazz

With Jon Gordon

''Possibilities'' (2000) - Double-Time

With Herbie Hancock

''The New Standard'' (1995) - Verve

With Jimmy Haslip

''A R C'' (1993) - UMG

With Roy Haynes

''Love Letters'' (2003) - Columbia

With Joe Henderson

''So Near, So Far (Musings for Miles)'' (1993) - Verve

''Porgy & Bess'' (1997) - Verve

With Ron Holloway

''Struttin''' (1995) - Milestone Records

With Marc Johnson

''Shades of Jade'' (2005) - ECM

''Second Sight'' (1987) - ECM

''Bass Desires'' (1986) - ECM

With Lee Konitz

''Rhapsody II'' (1993) - Evidence

With Manhattan Jazz Quintet

''Manhattan Blues'' (1990) – Sweet Basil

With Gary Marks

''Gathering'' (1974) - Arewea Records

With Charles Mingus

''Three of Four Shades of Blue'' (1977) - Collectables Records

With Gerry Mulligan and Chet Baker

''Carnegie Hall Concert'' (1974) - CTI Records

With John Patitucci

''Now'' (1998) - Concord Jazz

With Phil Lesh and Friends ''Live at the Warfield'' (2006) - With Dizzy Gillespie

''Rhythmstick'' (1990)

With Harvie Swartz

''In a Different Light'' (1990) - Blue Moon

'''With Tommy Smith:

''Blue Smith'' (1999) - Linn Records

With Gary Thomas

''By Any Means Necessary'' (1989) - JMT

With Mark Antony Turnage

''Blood On The Floor (album)'' (1998) - Decca Records

With Bugge Wesseltoft

''New Conception Of Jazz Live'' (2003) - Jazzland

With Lenny White

''Present Tense'' (1995) - Hip Bop

With Jack DeJohnette

''Music for the Fifth World'' (1992) - Capitol

With Keller Williams

''Dream'' (2007) - SCI Fidelity Records

References

External links

Official site

Verve Records: John Scofield Bio

Video Interview (11/2004)

Interview (01/2003)

Interview (03/2002)

Interview (05/2000)

John Scofield guitar tab

Interview from honesttune.com

Category:American jazz guitarists Category:Jazz-funk guitarists Category:Jazz fusion guitarists Category:Post-bop guitarists Category:Lead guitarists Category:American jazz composers Category:Miles Davis Category:Berklee College of Music alumni Category:New York University faculty Category:People from Wilton, Connecticut Category:People from Connecticut Category:People from Dayton, Ohio Category:1951 births Category:Living people

da:John Scofield de:John Scofield es:John Scofield fr:John Scofield it:John Scofield he:ג'ון סקופילד nl:John Scofield ja:ジョン・スコフィールド (音楽家) no:John Scofield pl:John Scofield pt:John Scofield sr:Џон Скофилд fi:John Scofield sv:John Scofield tr:John Scofield