Professional ratings
Review scores
Source	Rating
About.com	[1]
All About Jazz	(favorable)[2]
Allmusic	[3]
Robert Christgau	[4]
Daily News	(favorable)[5]
The Guardian	[6]
New York	(favorable)[7]
The New York Times	(favorable)[8]
The New Yorker	(favorable)[9]
Time Out	[10]

River: The Joni Letters is the 2007 album by Herbie Hancock. His 47th studio album, it was released on September 25, 2007 by Verve Records. The tribute album is a homage to Joni Mitchell, a longtime associate and friend of Hancock. Both Hancock and saxophonist Wayne Shorter previously collaborated with Mitchell on her 1979 album Mingus, and both continued to work with her on occasion ever since.^[11]

Guest vocalists on River include Leonard Cohen, Tina Turner, Norah Jones, Corinne Bailey Rae, Luciana Souza and Mitchell herself.^[11]

The album peaked at #5 on The Billboard 200 after enjoying a huge post-Grammy sales boost, at #61 in Switzerland, #70 in France and #83 in the Netherlands.

Grammy Awards[link]

On February 10, 2008, the album won the Album of the Year and Best Contemporary Jazz Album at the 50th annual Grammy Awards, surprising the music world.^[12] It faced competition from Kanye West, Foo Fighters, Amy Winehouse, and Vince Gill.^[13] River was the first jazz album to win best album in 43 years and only the second in the award's history; the other was Getz/Gilberto by Stan Getz and João Gilberto in 1965.^[14][15] The track "Both Sides Now" was also nominated for Best Jazz Instrumental.^[16]

Track listing[link]

All songs were written by Joni Mitchell, except where noted.

1. "Court and Spark" (featuring Norah Jones) - 7:35
2. "Edith and the Kingpin" (featuring Tina Turner) - 6:32
3. "Both Sides, Now" - 7:38
4. "River" (featuring Corinne Bailey Rae) - 5:25
5. "Sweet Bird" - 8:15
6. "The Tea Leaf Prophecy (Lay Down Your Arms)" (featuring Joni Mitchell) - 6:34
7. "(In My) Solitude" (Eddie DeLange, Duke Ellington, Irving Mills) - 5:42
8. "Amelia" (featuring Luciana Souza) - 7:26
9. "Nefertiti" (Wayne Shorter) - 7:30
10. "The Jungle Line" (featuring Leonard Cohen) - 5:00

Bonus tracks

The Amazon.com exclusive version of the album features two bonus tracks:^[17]

11. "A Case of You" – 7:36
12. "All I Want" – 4:15
    • with Sonya Kitchell

The iTunes Store digital version features two bonus tracks:

11. "Harlem in Havana"
12. "I Had a King"

Personnel[link]

• Herbie Hancock – piano
• Wayne Shorter – soprano and tenor saxophone
• Dave Holland – bass
• Lionel Loueke – guitar
• Vinnie Colaiuta – drums
• Larry Klein - bass on "All I Want"

References[link]

External links[link]

• The Kareem Abdul-Jabbar Blog: River at Los Angeles Times
• The Best Jazz of 2007: 3) River: The Joni Letters at PopMatters
• Hancock bridged jazz, pop on River at USA Today

A river is a natural watercourse,^[1] usually freshwater, flowing towards an ocean, a lake, a sea, or another river. In a few cases, a river simply flows into the ground or dries up completely before reaching another body of water. Small rivers may also be called by several other names, including stream, creek, brook, rivulet, tributary and rill. There are no official definitions for generic terms, such as river, as applied to geographic features,^[2] although in some countries or communities a stream may be defined by its size. Many names for small rivers are specific to geographic location; one example is "burn" in Scotland and northeast England. Sometimes a river is said to be larger than a creek,^[3] but this is not always the case, because of vagueness in the language.^[4]

Rivers are part of the hydrological cycle. Water within a river is generally collected from precipitation through a drainage basin from surface runoff and other sources such as groundwater recharge, springs, and the release of stored water in natural ice and snowpacks (e.g., from glaciers). Potamology is the scientific study of rivers.

Topography[link]

Melting toe of Athabasca Glacier, Jasper National Park, Alberta, Canada.

The water in a river is usually confined to a channel, made up of a stream bed between banks. In larger rivers there is also a wider floodplain shaped by flood-waters over-topping the channel. Flood plains may be very wide in relation to the size of the river channel. This distinction between river channel and floodplain can be blurred especially in urban areas where the floodplain of a river channel can become greatly developed by housing and industry.

The term upriver refers to the direction leading to the source of the river, which is against the direction of flow. Likewise, the term downriver describes the direction towards the mouth of the river, in which the current flows

The river channel typically contains a single stream of water, but some rivers flow as several interconnecting streams of water, producing a braided river. Extensive braided rivers are now found in only a few regions worldwide, such as the South Island of New Zealand. They also occur on peneplains and some of the larger river deltas. Anastamosing rivers are similar to braided rivers and are also quite rare. They have multiple sinuous channels carrying large volumes of sediment.

The River Cam from the Green Dragon Bridge, Cambridge UK

Nile River delta, as seen from Earth orbit. The Nile is an example of a wave-dominated delta that has the classic Greek letter delta (Δ) shape after which river deltas were named.

A river flowing in its channel is a source of energy which acts on the river channel to change its shape and form. In 1757, the German hydrologist Albert Brahms empirically observed that the submerged weight of objects that may be carried away by a river is proportional to the sixth power of the river flow speed.^[5] (This formulation is also sometimes called Airy's law.^[6]) Thus, if the speed of flow were doubled, the flow would dislodge objects with 64 times as much submerged weight. In mountainous torrential zones this can be seen as erosion channels through hard rocks and the creation of sands and gravels from the destruction of larger rocks. In U-shaped glaciated valleys, the subsequent river valley can often easily be identified by the V-shaped channel that it has carved. In the middle reaches where the river may flow over flatter land, meanders may form through erosion of the river banks and deposition on the inside of bends. Sometimes the river will cut off a loop, shortening the channel and forming an oxbow lake or billabong. Rivers that carry large amounts of sediment may develop conspicuous deltas at their mouths, if conditions permit. Rivers whose mouths are in saline tidal waters may form estuaries.

Throughout the course of the river, the total volume of water transported downstream will often be a combination of the free water flow together with a substantial contribution flowing through sub-surface rocks and gravels that underlie the river and its floodplain (called the hyporheic zone). For many rivers in large valleys, this unseen component of flow may greatly exceed the visible flow.

Subsurface streams[link]

Most but not all rivers flow on the surface. Subterranean rivers flow underground in caves or caverns. Such rivers are frequently found in regions with limestone geologic formations. Subglacial streams are the braided rivers that flow at the beds of glaciers and ice sheets, permitting meltwater to be discharged at the front of the glacier. Because of the gradient in pressure due to the overlying weight of the glacier, such streams can even flow uphill.

Permanence of flow[link]

An intermittent river (or ephemeral river) only flows occasionally and can be dry for several years at a time. These rivers are found in regions with limited or highly variable rainfall, or can occur because of geologic conditions such as having a highly permeable river bed. Some ephemeral rivers flow during the summer months but not in the winter. Such rivers are typically fed from chalk aquifers which recharge from winter rainfall. In the UK these rivers are called Bournes and give their name to place such as Bournemouth and Eastbourne.

Classification[link]

Rivers have been classified by many criteria including their topography, their biotic status, their relevance to white water rafting or canoeing activities.

Topographical classification[link]

Rivers can generally be classified as either alluvial, bedrock, or some mix of the two. Alluvial rivers have channels and floodplains that are self-formed in unconsolidated or weakly consolidated sediments. They erode their banks and deposit material on bars and their floodplains. Bedrock rivers form when the river downcuts through the modern sediments and into the underlying bedrock. This occurs in regions that have experienced some kind of uplift (thereby steepening river gradients) or in which a particular hard lithology causes a river to have a steepened reach that has not been covered in modern alluvium. Bedrock rivers very often contain alluvium on their beds; this material is important in eroding and sculpting the channel. Rivers that go through patches of bedrock and patches of deep alluvial cover are classified as mixed bedrock-alluvial.

Alluvial rivers can be further classified by their channel pattern as meandering, braided, wandering, anastomose, or straight. The morphology of an alluvial river reach is controlled by a combination of sediment supply, substrate composition, discharge, vegetation, and bed aggradation.

At the turn of the 20th century William Morris Davis devised the "cycle of erosion" method of classifying rivers based on their "age". Although Davis's system is still found in many books today, after the 1950s and 1960s it became increasingly criticized and rejected by geomorphologists. His scheme did not produce testable hypotheses and was therefore deemed non-scientific.^[7] Examples of Davis's river "ages" include:

• Youthful river: A river with a steep gradient that has very few tributaries and flows quickly. Its channels erode deeper rather than wider. Examples include the Brazos, Trinity and Ebro rivers.

• Mature river: A river with a gradient that is less steep than those of youthful rivers and flows more slowly. A mature river is fed by many tributaries and has more discharge than a youthful river. Its channels erode wider rather than deeper. Examples include the Mississippi, Saint Lawrence, Danube, Ohio, Thames and Paraná rivers.

• Old river: A river with a low gradient and low erosive energy. Old rivers are characterized by flood plains. Examples include the Yellow, Ganges, Tigris, Euphrates, Indus and Nile rivers.

• Rejuvenated river: A river with a gradient that is raised by tectonic uplift.

The way in which a river's characteristics vary between the upper course and lower course of a river are summarized by the Bradshaw model. Power-law relationships between channel slope, depth, and width are given as a function of discharge by "river regime".

Biotic classification[link]

There are very many systems of classification based on biotic conditions typically assigning classes from the most oligotrophic or unpolluted through to the most eutrophic or polluted.^[8] Other systems are based on a whole eco-system approach such as developed by the New Zealand Ministry for the Environment.^[9] In Europe, the requirements of the Water Framework Directive has led to the development of a wide range of classification methods including classifications based on fishery status^[10] A system of river zonation used in francophone communities^[11][12] divides rivers into three primary zones:

• The crenon is the uppermost zone at the source of the river. It is further divided into the eucrenon (spring or boil zone) and the hypocrenon (brook or headstream zone). These areas are characterized by low temperatures, reduced oxygen content and slow moving water.
• The rhithron is the upstream portion of the river that follows the crenon. It is characterized by relatively cool temperatures, high oxygen levels, and fast, turbulent flow.
• The potamon is the remaining downstream stretch of river. It is characterized by warmer temperatures, lower oxygen levels, slow flow and sandier bottoms.

Whitewater classification[link]

The International Scale of River Difficulty is used to rate the challenges of navigation—particularly those with rapids. Class I is the easiest and Class VI is the hardest.

Stream order classification[link]

The Strahler Stream Order ranks rivers based on the connectivity and hierarchy of contributing tributaries. Headwaters are first order while the Amazon River is twelfth order. Approximately 80% of the rivers and streams in the world are of the first and second order.

Uses[link]

Leisure activities on the River Avon at Avon Valley Country Park, Keynsham, United Kingdom. A boat giving trips to the public passes a moored private boat.

Rivers have been used as a source of water, for obtaining food, for transport, as a defensive measure, as a source of hydropower to drive machinery, for bathing, and as a means of disposing of waste.

Rivers have been used for navigation for thousands of years. The earliest evidence of navigation is found in the Indus Valley Civilization, which existed in northwestern Pakistan around 3300 BC.^[13] Riverine navigation provides a cheap means of transport, and is still used extensively on most major rivers of the world like the Amazon, the Ganges, the Nile, the Mississippi, and the Indus. Since river boats are often not regulated, they contribute a large amount to global greenhouse gas emissions, and to local cancer due to inhaling of particulates emitted by the transports.^[14][15]

In some heavily forested regions such as Scandinavia and Canada, lumberjacks use the river to float felled trees downstream to lumber camps for further processing, saving much effort and cost by transporting the huge heavy logs by natural means.

Rivers have been a source of food since pre-history.^[16] They can provide a rich source of fish and other edible aquatic life, and are a major source of fresh water, which can be used for drinking and irrigation. It is therefore no surprise to find most of the major cities of the world situated on the banks of rivers. Rivers help to determine the urban form of cities and neighbourhoods and their corridors often present opportunities for urban renewal through the development of foreshoreways such as riverwalks. Rivers also provide an easy means of disposing of waste-water and, in much of the less developed world, other wastes.

Watermill in Belgium

Fast flowing rivers and waterfalls are widely used as sources of energy, via watermills and hydroelectric plants. Evidence of watermills shows them in use for many hundreds of years such as in Orkney at Dounby Click Mill. Prior to the invention of steam power, water-mills for grinding cereals and for processing wool and other textiles were common across Europe. In the 1890s the first machines to generate power from river water were established at places such as Cragside in Northumberland and in recent decades there has been a significant increase in the development of large scale power generation from water, especially in wet mountainous regions such as Norway.

The coarse sediments, gravel, and sand, generated and moved by rivers are extensively used in construction. In parts of the world this can generate extensive new lake habitats as gravel pits re-fill with water. In other circumstances it can destabilise the river bed and the course of the river and cause severe damage to spawning fish populations which rely on stable gravel formations for egg laying.

In upland rivers, rapids with whitewater or even waterfalls occur. Rapids are often used for recreation, such as whitewater kayaking.

Rivers have been important in determining political boundaries and defending countries. For example, the Danube was a long-standing border of the Roman Empire, and today it forms most of the border between Bulgaria and Romania. The Mississippi in North America and the Rhine in Europe are major east-west boundaries in those continents. The Orange and Limpopo Rivers in southern Africa form the boundaries between provinces and countries along their routes.

Ecosystem[link]

The organisms in the riparian zone respond to changes in river channel location and patterns of flow. The ecosystem of rivers is generally described by the River continuum concept, which has some additions and refinements to allow for spatial (dams, waterfalls) and temporal (extensive flooding). The basic idea is that the river can be described as a system that is continuously changing along its length in the physical parameters, the availability of food particles and the composition of the ecosystem. The food (energy) that is the leftover of the upstream part is being utilized downstream.

The general pattern is that the first order streams contain particulate matter (decaying leaves from the surrounding forests), which is processed there by shredders like Plecoptera larvae. The leftovers of the shredders are utilized by collectors, such as Hydropsychidae, and further downstream algae that create the primary production become the main foodsource of the organisms. All changes are gradual and the distribution of each species can be described as a normal curve with the highest density where the conditions are optimal. In rivers succession is virtually absent and the composition of the ecosystem stays fixed in time.

Chemistry[link]

The chemistry of rivers is complex and depends on inputs from the atmosphere, the geology through which it travels and the inputs from man's activities. The chemistry of the water has a large impact on the ecology of that water for both plants and animals and it also affects the uses that may be made of the river water. Understanding and characterising river water chemistry requires a well designed and managed sampling and analysis.

Like many other Aquatic ecosystems, rivers too are under increasing threat of pollution. According to a study of the WWF's Global Freshwater Programme, the 10 most polluted rivers are: Ganges, Indus, Yangtze, Salween-Nu, Mekong-Lancang, Rio Grande/Rio Bravo, Río de la Plata, Danube, Nile-Lake Victoria, and the Murray-Darling.^[17]

Brackish water[link]

Some rivers generate brackish water by having their river mouth in the ocean. This, in effect creates a unique environment in which certain species are found.

Flooding[link]

Flash flooding caused by heavy rain falling in a short amount of time

Flooding is a natural part of a river's cycle. The majority of the erosion of river channels and the erosion and deposition on the associated floodplains occur during flood stage. In many developed areas, human activity has changed river channel form, altering different magnitudes and frequencies of flooding. Some examples of this are the building of levees, the straightening of channels, and the draining of natural wetlands. In many cases human activities in rivers and floodplains have dramatically increased the risk of flooding. Straightening rivers allows water to flow more rapidly downstream increasing the risk of flooding places further downstream. Building on flood plains removes flood storage which again exacerbates downstream flooding. The building of levees may only protect the area behind the levees and not those further downstream. Levees and flood-banks can also increase flooding upstream because of back-water pressure as the upstream water has to squeeze between the levees.

Flow[link]

Studying the flows of rivers is one aspect of hydrology.^[18]

Direction[link]

A common misconception is that most, or even all, rivers flow from north to south.^[19][20][21] Rivers in fact flow downhill regardless of compass direction. Sometimes downhill is from north to south, but equally it can be from south to north, and usually is a complex meandering path involving all directions of the compass.^[22][23][24] Three of the ten longest rivers in the world—the Nile, Yenisei, and Ob—flow north, as do other major rivers such as the Rhine, Mackenzie, and Nelson.

Rivers flowing downhill, from river source to river mouth, do not necessarily take the shortest path. For alluvial streams, straight and braided rivers have very low sinuosity and flow directly down hill, while meandering rivers flow from side to side across a valley. Bedrock rivers typically flow in either a fractal pattern, or a pattern that is determined by weaknesses in the bedrock, such as faults, fractures, or more erodible layers.

Rate[link]

Volumetric flow rate, also called discharge, volume flow rate, and rate of water flow, is the volume of water which passes through a given cross-section of the river channel per unit time. It is typically measured in cubic meters per second (cumec) or cubic feet per second (cfs), where 1 m³/s = 35.51 ft³/s; it is sometimes also measured in litres or gallons per second.

Volumetric flow rate can be thought of as the mean velocity of the flow through a given cross-section, times that cross-sectional area. Mean velocity can be approximated through the use of the Law of the Wall. In general, velocity increases with the depth (or hydraulic radius) and slope of the river channel, while the cross-sectional area scales with the depth and the width: the double-counting of depth shows the importance of this variable in determining the discharge through the channel.

Sediment yield[link]

Sediment yield is the total quantity of particulate matter (suspended or bedload) reaching the outlet of a drainage basin over a fixed time frame. Yield is usually expressed as kilograms per square kilometre per year. Sediment delivery processes are affected by a myriad of factors such as drainage area size, basin slope, climate, sediment type (lithology), vegetation cover, and human land use / management practices. The theoretical concept of the 'sediment delivery ratio' (ratio between yield and total amount of sediment eroded) captures the fact that not all of the sediment eroded within a catchment reaches the outlet (due to, for example, deposition on floodplains). Such storage opportunities are typically increased in catchments of larger size, thus leading to a lower yield and sediment delivery ratio.

Management[link]

River bank repair

Rivers are often managed or controlled to make them more useful, or less disruptive, to human activity.

• Dams or weirs may be built to control the flow, store water, or extract energy.
• Levees, known as dikes in Europe, may be built to prevent river water from flowing on floodplains or floodways.
• Canals connect rivers to one another for water transfer or navigation.
• River courses may be modified to improve navigation, or straightened to increase the flow rate.

River management is a continuous activity as rivers tend to 'undo' the modifications made by people. Dredged channels silt up, sluice mechanisms deteriorate with age, levees and dams may suffer seepage or catastrophic failure. The benefits sought through managing rivers may often be offset by the social and economic costs of mitigating the bad effects of such management. As an example, in parts of the developed world, rivers have been confined within channels to free up flat flood-plain land for development. Floods can inundate such development at high financial cost and often with loss of life.

Rivers are increasingly managed for habitat conservation, as they are critical for many aquatic and riparian plants, resident and migratory fishes, waterfowl, birds of prey, migrating birds, and many mammals.

Gallery[link]

• 

  The Irrawaddy River is in a fairly untamed condition, with wide-reaching "arms and fingers" leading off the main water-flow

• 

  A false-color satellite photograph of the Amazon River in Brazil

See also[link]

Wikimedia Commons has media related to: River

Look up river in Wiktionary, the free dictionary.

	Environment portal
	Ecology portal

References[link]

Further reading[link]

• Jeffrey W. Jacobs. "Rivers, Major World". Water Encyclopaedia. http://www.waterencyclopedia.com/Re-St/Rivers-Major-World.html. 
• Luna B. Leopold (1994). A View of the River. Harvard University Press. ISBN 0-674-93732-5. OCLC 28889034. ISBN.  — a non-technical primer on the geomorphology and hydraulics of water.

External links[link]

• River Network - Connecting people, saving rivers (Environmental organization)

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chu:Ó'he'elez:ВацӀ

Look up Letter, letter, or letters in Wiktionary, the free dictionary.

Letter may refer to:

• Letter (alphabet), a written element of an alphabet that represents a single phoneme
  • Letterform, typographic term for alphabetical letter shapes
• Letter (message), a form of written communication; see also mail
• Letters, the collected correspondence of a writer or historically significant person
  • Maktubat (disambiguation), the Arabic word for collected letters
  • Pauline epistles, addressed by St. Paul to various communities or congregations, such as "Letters to the Galatians" or "Letters to the Corinthians", and part of the canonical books of the Bible
• The letter as a form of second-person literature; see Epistle
  • Epistolary novel, a long-form fiction composed of letters (epistles)
• Letters, another word for literature, as in "arts and letters"
• LETTERS (novel), by John Barth
• Open letter, a public letter as distinguished from private correspondence
• Letter to the editor, a letter sent to a newspaper, magazine, or online publication by one of its readers and meant to be published
• Encyclical letter in the Catholic Church
• Letter (paper size), paper conventionally sized for letter-writing
• Varsity letter, an award given in the U.S. for interscholastic or intercollegiate merit in a sport or other activity such as band or choir.
• Rehearsal letter in an orchestral score
• Letters (Matt Cardle album)
• Letters (Aftershock album)
• Letters (Butch Walker album)
• Letters (Jimmy Webb album)
• Letters, a 2002 single by Hikaru Utada

Places[link]

• Letter, Aberdeenshire, is a settlement in North-east Scotland
• Letter, County Fermanagh, a townland in County Fermanagh, Northern Ireland
• Letters, Ross-shire, a small village on the coast of Loch Broom, Scotland
• Letter railway station in Germany

Other[link]

• John Letters, a Scottish manufacturer of golf clubs
• Levothyroxine, by the trade name Letter
• English Letters, every letter in English is one digit long, although other languages, such as Spanish, contain letters with more than one digit

See also[link]

• The Letter (disambiguation)
• Letterer, a member of a team of comic book creators responsible for drawing the comic book's text
• Letterman (disambiguation)
• Lettering, and calligraphy

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

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]