A sextant

This article is about the Sextant as used for navigation. For the astronomer's sextant, see Sextant (astronomical).

For the history and development of the sextant see Reflecting instruments

A sextant is an instrument used to measure the angle between any two visible objects. Its primary use is to determine the angle between a celestial object and the horizon which is known as the object's altitude. Making this measurement is known as sighting the object, shooting the object, or taking a sight and it is an essential part of celestial navigation. The angle, and the time when it was measured, can be used to calculate a position line on a nautical or aeronautical chart. Common uses of the sextant include sighting the sun at solar noon and sighting Polaris at night, to find one's latitude (in northern latitudes). A sextant can also be held horizontally to measure the angle between any two landmarks which allows for calculation of a position on a chart. A sextant can also be used to measure the Lunar distance between the moon and another celestial object (e.g., star, planet) in order to determine Greenwich time which is important because it can then be used to determine the longitude.

The scale of a sextant has a length of 1/6 turn (60°); hence the sextant's name (sextāns, -antis is the Latin word for "one sixth", "εξάντας" in Greek). An octant is a similar device with a shorter scale (⅛ turn, or 45°), whereas a quintant (1/5 turn, or 72°) and a quadrant (¼ turn, or 90°) have longer scales.

Sir Isaac Newton (1643–1727) invented the principle of the doubly reflecting navigation instrument (a reflecting quadrant - see Octant (instrument)), but never published it. Two men independently developed the octant around 1730: John Hadley (1682–1744), an English mathematician, and Thomas Godfrey (1704–1749), a glazier in Philadelphia. John Bird made the first sextant in 1757. The octant and later the sextant, replaced the Davis quadrant as the main instrument for navigation.

Navigational sextants[link]

Man using a sextant

U.S. Navy officer using a sextant

This section discusses navigators' sextants. Most of what is said about these specific sextants applies equally to other types of sextants. Navigators' sextants were primarily used for celestial navigation.

Advantages[link]

Like the Davis quadrant (also called backstaff), the sextant allows celestial objects to be measured relative to the horizon, rather than relative to the instrument. This allows excellent precision. However, unlike the backstaff, the sextant allows direct observations of stars. This permits the use of the sextant at night when a backstaff is difficult to use. For solar observations, filters allow direct observation of the sun.

Since the measurement is relative to the horizon, the measuring pointer is a beam of light that reaches to the horizon. The measurement is thus limited by the angular accuracy of the instrument and not the sine error of the length of an alidade, as it is in a mariner's astrolabe or similar older instrument.

A sextant does not require a completely steady aim, because it measures a relative angle. For example, when a sextant is used on a moving ship, the image of both horizon and celestial object will move around in the field of view. However, the relative position of the two images will remain steady, and as long as the user can determine when the celestial object touches the horizon the accuracy of the measurement will remain high compared to the magnitude of the movement.

The sextant is not dependent upon electricity (unlike many forms of modern navigation) or anything human-controlled (like GPS satellites). For these reasons, it is considered an eminently practical back-up navigation tool for ships.

Anatomy of a sextant[link]

Marine Sextant

Using the sextant to measure the altitude of the Sun above the horizon

The index arm moves the index mirror. The indicator points at the arc to show the measurement. The body ties everything together.

There are two types of sextants. Both types can give good results, and the choice between them is personal.

Traditional sextants have a half-horizon mirror. It divides the field of view in two. On one side, there is a view of the horizon; on the other side, a view of the celestial object. The advantage of this type is that both the horizon and celestial object are bright and as clear as possible. This is superior at night and in haze, when the horizon can be difficult to see. However, one has to sweep the celestial object to ensure that the lowest limb of the celestial object touches the horizon.

Whole-horizon sextants use a half-silvered horizon mirror to provide a full view of the horizon. This makes it easy to see when the bottom limb of a celestial object touches the horizon. Since most sights are of the sun or moon, and haze is rare without overcast, the low-light advantages of the half-horizon mirror are rarely important in practice.

In both types, larger mirrors give a larger field of view, and thus make it easier to find a celestial object. Modern sextants often have 5 cm or larger mirrors, while 19th century sextants rarely had a mirror larger than 2.5 cm (one inch). In large part, this is because precision flat mirrors have grown less expensive to manufacture and to silver.

An artificial horizon is useful when the horizon is invisible. This occurs in fog, on moonless nights, in a calm, when sighting through a window or on land surrounded by trees or buildings. Professional sextants can mount an artificial horizon in place of the horizon-mirror assembly. An artificial horizon is usually a mirror that views a fluid-filled tube with a bubble.

Most sextants also have filters for use when viewing the sun and reducing the effects of haze.

Most sextants mount a 1 or 3 power monocular for viewing. Many users prefer a simple sighting tube, which has a wider, brighter field of view and is easier to use at night. Some navigators mount a light-amplifying monocular to help see the horizon on moonless nights. Others prefer to use a lit artificial horizon.

Professional sextants use a click-stop degree measure and a worm adjustment that reads to a minute, 1/60 of a degree. Most sextants also include a vernier on the worm dial that reads to 0.2 minute. Since 1 minute of error is about a nautical mile, the best possible accuracy of celestial navigation is about 0.1 nautical miles (200 m). At sea, results within several nautical miles, well within visual range, are acceptable. A highly-skilled and experienced navigator can determine position to an accuracy of about 0.25-nautical-mile (460 m).^[1]

A change in temperature can warp the arc, creating inaccuracies. Many navigators purchase weatherproof cases so that their sextant can be placed outside the cabin to come to equilibrium with outside temperatures. The standard frame designs (see illustration) are supposed to equalise differential angular error from temperature changes. The handle is separated from the arc and frame so that body heat does not warp the frame. Sextants for tropical use are often painted white to reflect sunlight and remain relatively cool. High-precision sextants have an invar (a special low-expansion steel) frame and arc. Some scientific sextants have been constructed of quartz or ceramics with even lower expansions. Many commercial sextants use low expansion brass or aluminium. Brass is lower-expansion than aluminium, but aluminium sextants are lighter and less tiring to use. Some say they are more accurate because one's hand trembles less.

Aircraft sextants are now out of production, but had special features. Most had artificial horizons to permit taking a sight through a flush overhead window. Some also had mechanical averagers to make hundreds of measurements per sight for compensation of random accelerations in the artificial horizon's fluid. Older aircraft sextants had two visual paths, one standard and the other designed for use in open-cockpit aircraft that let one view from directly over the sextant in one's lap. More modern aircraft sextants were periscopic with only a small projection above the fuselage. With these, the navigator pre-computed his sight and then noted the difference in observed versus predicted height of the body to determine his position.

After a sight is taken, it is reduced to a position by following any of several mathematical procedures. The simplest sight reduction is to draw the equal-elevation circle of the sighted celestial object on a globe. The intersection of that circle with a dead-reckoning track, or another sighting gives a more precise location.

Taking a sight[link]

To sight (or measure) the angle between the sun, a star, or a planet, and the horizon the 'star telescope' should be fitted to the sextant. The horizon should also be visible. On a vessel at sea, this is usually no problem; on misty days, sighting from a low height above the water may give a more definite, better horizon. The sextant is removed from its box and held by the handle in the right hand, without ever touching the arc with the fingers.^[2]

For a sun sight, the shades of the sextant overcome glare. One method of starting is to use both index mirror and horizon mirror shades, of sufficient darkness that the sun appears through either as a solid disk and does not hurt the eyes. By setting the index bar to zero, the sun can be viewed through the telescope. Releasing the index bar (either by releasing a clamping screw, or on modern instruments, using the quick-release button), the image of the sun can be brought down to about the level of the horizon. It is necessary to flip back the horizon mirror shade to be able to see the horizon, and then the fine adjustment screw on the end of the index bar is turned until the bottom curve (the lower limb) of the sun just touches the horizon. 'Swinging' the sextant about the axis of the telescope ensures that the reading is being taken with the instrument held vertically. The angle of the sight is then read from the scale on the arc, making use of the micrometer or vernier scale provided. The exact time of the sight must also be noted simultaneously, and the height of the eye above sea-level recorded.^[2]

An alternative method is to estimate the current altitude (angle) of the sun from navigation tables, then set the index bar to that angle on the arc, apply suitable shades only to the index mirror, and point the instrument directly at the horizon, sweeping it from side to side until a flash of the sun's rays are seen in the telescope. Fine adjustments are then made as above. This method is less likely to be successful for sighting stars and planets.^[2]

Star and planet sights are normally taken during twilight at dawn or dusk, while both the heavenly bodies and the sea horizon are visible. There is no need to use shades or to distinguish the lower limb as the body appears as a mere point in the telescope. The moon can be sighted, but it appears to move very fast, appears to have different sizes at different times, and sometimes only the lower or upper limb can be distinguished due to its phase.^[2]

Sextants can be used very accurately to measure other visible angles, for example between one heavenly body and another and between landmarks ashore. Used horizontally, a sextant can measure the apparent angle between two landmarks such as a lighthouse and a church spire, which can then be used to find the distance off or out to sea (provided the distance between the two landmarks is known). Used vertically, a measurement of the angle between the lantern of a lighthouse of known height and the sea level at its base can also be used for distance off.^[2]

Adjustment[link]

Due to the sensitivity of the instrument it is easy to knock the mirrors out of adjustment. For this reason a sextant should be checked frequently for errors and adjusted accordingly.

There are four errors that can be adjusted by the navigator and they should be removed in the following order.

Perpendicularity error

This is when the index mirror is not perpendicular to the frame of the sextant. To test for this, place the index arm at about 60° on the arc and hold the sextant horizontally with the arc away from you at arms length and look into the index mirror. The arc of the sextant should appear to continue unbroken into the mirror. If there is an error then the two views will appear to be broken. Adjust the mirror until the reflection and direct view of the arc appear to be continuous.

Side error

This occurs when the horizon glass/mirror is not perpendicular to the plane of the instrument. To test for this, first zero the index arm then observe a star through the sextant. Then rotate the tangent screw back and forth so that the reflected image passes alternately above and below the direct view. If in changing from one position to another the reflected image passes directly over the unreflected image, no side error exists. If it passes to one side, side error exists. The user can hold the sextant on its side and observe the horizon to check the sextant during the day. If there are two horizons there is side error; adjust the horizon glass/mirror until the stars merge into one image or the horizons are merged into one. Side error is generally inconsequential for observations and can be ignored or reduced to a level that is merely convenient.

Collimation error

This is when the telescope or monocular is not parallel to the plane of the sextant. To check for this you need to observe two stars 90° or more apart. Bring the two stars into coincidence either to the left or the right of the field of view. Move the sextant slightly so that the stars move to the other side of the field of view. If they separate there is collimation error.

Index error

This occurs when the index and horizon mirrors are not parallel to each other when the index arm is set to zero. To test for index error, zero the index arm and observe the horizon. If the reflected and direct image of the horizon are in line there is no index error. If one is above the other adjust the index mirror until the two horizons merge. This can be done at night with a star or with the moon.

See also[link]

Wikimedia Commons has media related to: Sextant

Notes[link]

References[link]

• Bowditch, Nathaniel (2002). The American Practical Navigator. Bethesda, MD: National Imagery and Mapping Agency. ISBN 0-939837-54-4. http://www.irbs.com/bowditch/. 
• Cutler, Thomas J. (December 2003). Dutton's Nautical Navigation (15th ed.). Annapolis, MD: Naval Institute Press. ISBN 978-1-55750-248-3. 
• Department of the Air Force (March 2001) (PDF). Air Navigation. Department of the Air Force. http://www.e-publishing.af.mil/pubfiles/af/11/afpam11-216/afpam11-216.pdf. Retrieved 2007-04-17. 
• Great Britain Ministry of Defence (Navy) (1995). Admiralty Manual of Seamanship. The Stationery Office. ISBN 0-11-772696-6. 
• Chisholm, Hugh, ed. (1911). "Navigation". Encyclopædia Britannica. 19 (11th edition ed.). http://en.wikisource.org/wiki/User:Tim_Starling/ScanSet_TIFF_demo. Retrieved 2007-04-17. 
• Chisholm, Hugh, ed. (1911). "Sextant". Encyclopædia Britannica. 24 (11th edition ed.). pp. 749–751. http://en.wikisource.org/wiki/User:Tim_Starling/ScanSet_TIFF_demo. Retrieved 2007-04-17. 
• Maloney, Elbert S. (December 2003). Chapman Piloting and Seamanship (64th ed.). New York, NY: Hearst Communications Inc.. ISBN [[Special:BookSources/1-58816-098-0|1-58816-098-0]]. 

External links[link]

Look up sextant in Wiktionary, the free dictionary.

• Her Majesty's Nautical Almanac Office
• The History of HM Nautical Almanac Office
• Instruments for Celestial NavigationPDF (361 KiB) Chapter from the online edition of Nathaniel Bowditch's American Practical Navigator
• CD-Sextant - Build your own sextant Simple do-it-yourself project.
• Lunars web site. online calculation
• Complete celnav theory book, including Lunars

Herbie Hancock
Hancock in concert at the Nice Jazz Festival 2010
Background information
Birth name	Herbert Jeffrey Hancock
Also known as	Herbie Hancock
Born	(1940-04-12) April 12, 1940 (age 72) Chicago, Illinois, United States
Genres	Jazz, bebop, post bop, jazz fusion, hard bop, jazz-funk, funk, R&B, electro funk, classical
Occupations	Musician, composer, bandleader
Instruments	Piano, synthesizer, organ, clavinet, keytar, vocoder
Years active	1961–present
Labels	Columbia, Blue Note, Verve, Warner Bros.
Associated acts	Miles Davis Quintet, Jaco Pastorius, Joni Mitchell, Stevie Wonder
Website	www.herbiehancock.com

Herbert Jeffrey "Herbie" Hancock (born April 12, 1940) is an American pianist, keyboardist, bandleader and composer.^[1] 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.

Hancock is a member of Sōka Gakkai International.^[2][3]

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

Early life and career[link]

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,^[4] 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.^[5]

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. He reported that:

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 came from.^[6]

In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student.^[7] 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 with degrees in electrical engineering and music. Grinnell also awarded him an honorary Doctor of Fine Arts degree in 1972).^[5][8] 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[link]

Hancock received considerable attention when, in May 1963,^[5] he joined Miles Davis's Second Great Quintet. 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 Davis's 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 "Chihuahua" 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.

[edit] Fat Albert and Mwandishi

Hancock playing a Roland AX-7 keytar, at The Roundhouse, Camden, London, 2006

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.^{[citation needed]}

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 2006–7 a remastered edition of Crossings was announced and scheduled for release in the Spring.

[edit] Headhunters and Death Wish

Hancock performing in concert, 2006

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.^{[citation needed]} 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 among 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."^[9]

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, he 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.

[edit] Back to the basics: VSOP and 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 including Tony Williams and Jaco Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit,^[10] "I Thought It Was You", although critics were unimpressed.^[11] 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".^[10] Albums such as Monster (1980), Magic Windows (1981), and Lite Me Up (1982) were some of Hancock's most criticized and unwelcomed albums, the market at the time being somewhat saturated with similar pop-jazz hybrids from the likes of former bandmate Freddie Hubbard. Hancock himself had quite a limited role in some of those albums, leaving singing, composing and even producing to others. Mr. Hands (1980) is perhaps the one album during this period that was critically acclaimed. To the delight of many fans, there were no vocals on the album, and one track featured Jaco Pastorius on bass. The album contained a wide variety of different styles, including a disco instrumental song, a Latin-jazz number and an electronic piece in which Hancock plays alone with the help of computers.

Hancock also found time to record more traditional jazz while creating more commercially oriented music. He toured with Tony Williams and Ron Carter in 1981, recording Herbie Hancock Trio, a five-track live album released only in Japan. A month later, he recorded Quartet with Wynton Marsalis, released in the US the following year. Hancock, Williams and Carter toured internationally with Wynton and his brother Branford Marsalis in what was affectionately known as "VSOP II". This quintet can be heard on Marsalis' debut album on Columbia (1981). In 1982 he contributed to the Simple Minds album New Gold Dream (81,82,83,84), playing a synthesizer solo on the track "Hunter and The Hunted".

In 1983, Hancock had a mainstream hit with the Grammy-award winning instrumental single "Rockit" from the album Future Shock. It was perhaps the first mainstream single to feature scratching, and also featured an innovative animated music video which was directed by Godley and Creme and showed several robot-like artworks by Jim Whiting. The video was a hit on MTV and reached No.8 in the UK.^[12] 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 1980s are the live album Jazz Africa and the studio album Village Life (1984), which were recorded with Gambian kora player Foday Musa Suso.^[13] Also, in 1985 Hancock performed as a guest on the album So Red The Rose by the Duran Duran offshoot 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[link]

Hancock live in concert

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, he 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 Hancock 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 entitled 1 + 1 was successful, the song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition. Hancock also achieved great success in 1998 with his album Gershwin's World, which featured inventive readings of George and 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 entitled Directions in Music: Live at Massey Hall, recorded live in Toronto. The threesome toured to support the album, and toured on and off through 2005.

The year 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 Headhunters 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-onlyThe 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) entitled "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,^[14] 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.^[15] "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.^[16]

On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for American President Barack Obama.^[17] 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.^[18] 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.^[19]

Discography[link]

Filmography[link]

As a Leader[link]

• 2000: Dejohnette, Hancock, Holland and Metheny – Live in Concert
• 2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham^[20]
• 2002: The Jazz Channel Presents Herbie Hancock (BET on Jazz) with Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson (recorded in 2000)
• 2004: Herbie Hancock – Future2Future Live
• 2006: Herbie Hancock – Possibilities with John Mayer, Christina Aguilera, Joss Stone, and more

Awards[link]

Academy Awards[link]

• 1986, Original Soundtrack, for Round Midnight

Grammy Awards[link]

1. 1984, Best R&B Instrumental Performance, for Rockit
2. 1985, Best R&B Instrumental Performance, for Sound-System
3. 1988, Best Instrumental Composition, for Call Sheet Blues
4. 1995, Best Jazz Instrumental Performance, Individual Or Group, for A Tribute to Miles
5. 1997, Best Instrumental Composition, for Manhattan (Island Of Lights And Love)
6. 1999, Best Instrumental Arrangement Accompanying Vocal(s), for St. Louis Blues
7. 1999, Best Jazz Instrumental Performance, Individual Or Group, for Gershwin's World
8. 2003, Best Jazz Instrumental Album, Individual or Group, for Directions in Music: Live at Massey Hall
9. 2003, Best Jazz Instrumental Solo, for My Ship
10. 2005, Best Jazz Instrumental Solo, for Speak Like a Child
11. 2008, Album of the Year, for River: The Joni Letters
12. 2008, Best Contemporary Jazz Album, for River: The Joni Letters
13. 2011, Best Improvised Jazz Solo, for A Change Is Gonna Come
14. 2011, Best Pop Collaboration with Vocals, for Imagine

Playboy Music Poll[link]

• 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[link]

• Best Jazz & Pop Keyboardist, 1983
• Best Jazz Pianist, 1987
• Best Jazz Keyboardist, 1987
• Best Jazz Pianist, 1988

Other notable awards[link]

• 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

^[21]

References[link]

External links[link]

• 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.