Funk styles refers to a group of street dance styles that originated in California in the 1970s during the funk era. These mainly include locking, popping, and electric boogaloo. Though many of these specific dance styles have today been incorporated into the hip hop culture and are often seen danced to hip hop music, they were originally (and are still) danced to funk music. One of the reasons that the term ''funk styles'' first appeared was to give these dances their own identity and avoid them being primarily associated with breaking which is from New York.

References

External links

lockerlegends.net The history of locking

Category:Street dance Category:Funk dance Category:Hip hop dance

it:Funk styles pt:Funk Styles

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

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

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

Hancock is a member of Sōka Gakkai International.

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

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

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

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

Miles Davis quintet and Blue Note

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

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

While in 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''.

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

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

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

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

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

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

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

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

All three Warner Bros. albums ''Fat Albert Rotunda'', ''Mwandishi'', and ''Crossings'', were remastered in 2001 and released in Europe but were not released in the U.S.A. as of June 2005. In the Winter of 2006–7 a remastered edition of ''Crossings'' was announced and scheduled for release in the Spring.

''Headhunters'' and ''Death Wish''

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

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

Despite charges of "selling out", Stephen Erlewine of ''Allmusic'' positively reviewed the album 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."

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.

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

During this period, he appeared onstage at the Grammy awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in a famous synthesizer jam (The video on Youtube can be found here.). Lesser known works from the 1980s are the live album ''Jazz Africa'' and the studio album ''Village Life'' (1984), which were recorded with Gambian kora player Foday Musa Suso. Also, in 1985 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

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-only''The Herbie Hancock Box'', which was released at first in a plastic 4x4 cube then re-released in 2004 in a long box set. Hancock also in 2006, recorded a new song with Josh Groban and Eric Mouquet (co-founder of Deep Forest) 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, as did Corinne Bailey Rae, and Leonard Cohen contributed a spoken piece set to Hancock's piano. Mitchell herself also made an appearance. The album was released on September 25, simultaneously with the release of Mitchell's album ''Shine''. "River" was nominated for and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honor. The album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for Best Instrumental Jazz Solo.

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

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

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

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

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

Discography

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

|- | style="border-bottom:1px solid gray;"|''De Luxe'' (Unofficial) | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| 2005 | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| Leader Music (Argentina)

|- | style="border-bottom:1px solid gray;"| ''River: The Joni Letters'' | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| 2007 | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| Verve |- | style="border-bottom:1px solid gray;"| ''Then and Now: the Definitive Herbie Hancock'' | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| 2008 | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| Verve |- | style="border-bottom:1px solid gray;"| ''The Imagine Project'' | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| 2010 | style="border-bottom:1px solid gray;"| | style="border-bottom:1px solid gray;"| Hancock |}

Filmography

As a Leader

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

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

2002: ''The Jazz Channel Presents Herbie Hancock (BET on Jazz)'' with Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson (recorded in 2000)

2004: ''Herbie Hancock – Future2Future Live''

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

Awards

Academy Awards

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

Grammy Awards

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

Playboy Music Poll

Best Jazz Group, 1985

Best Jazz Keyboards, 1985

Best Jazz Album – ''Rockit'', 1985

Best Jazz Keyboards, 1986

Best R&B Instrumentalist, 1987

Best Jazz Instrumentalist, 1988

Keyboard Magazine's Readers Poll

Best Jazz & Pop Keyboardist, 1983

Best Jazz Pianist, 1987

Best Jazz Keyboardist, 1987

Best Jazz Pianist, 1988

Other notable awards

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

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

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

BMI Film Music Award ''Round Midnight'', 1986

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

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

BMI Film Music Award ''Colors'', 1989

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

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

Festival International Jazz de Montreal Prix Miles Davis, 1997

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

NEA Jazz Masters Award, 2004

''Downbeat Magazine'' Readers Poll Hall of Fame, 2005

References

External links

Official website of Herbie Hancock

Official Herbie Hancock MySpace page

Herbie Hancock at Verve Records

River:The Joni Letters at Verve Records

Possibilities Herbie Hancock

Discography Herbie Hancock Discography

Interview with Herbie Hancock on music and technology from AppleMatters

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

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

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

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

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

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

Name	DJ Abdel
Birth name	Lamriq Abdel
Origin	Saint-Pierre-les-Nemours, Seine et Marne, France
Genre	hip hop, funk and contemporary R&B
Years active	2000-present
Website	http://www.djabdel.com/
background	non_performing_personnel }}

Lamriq Abdel better known as DJ Abdel (born in Saint-Pierre-les-Nemours, Seine et Marne, France) is a French DJ of Moroccan origin and producer playing hip hop, funk and contemporary R&B on major French radio stations.

DJ Abdel became known through his musical participation in the French Canal+ television show ''Nulle Part Ailleurs'' as a member of its band. He joined Dee Nasty and the dance troupe "Black Blanc Beur" (also known as B3) in touring. He also collaborated with DJ Cut Killer in forming "Double H Productions" that produced many albums most notably for 113, a French hip hop group with African and Caribbean roots.

He has broadcast music mixes on several French radio stations including on his own daily show on Fun Radio. He DJs in NRJ with a weekly show "Master Mix" and 1-hour weekly show on FG DJ Radio. His musical style is a mix of hip hop, of funk and contemporary R&B.

He wrote the musical parts for the French sitcom ''H'' and French animated series ''Funky Cops''. He also took part in writing music materials for films including Zak Fishman’s ''Gamer'', Fabrice Genstal’s ''La Squale'', Thomas Girou's sequel of ''La Vérité si je mens !'' and in 2005 Merzak Allouache's ''Bab el web''.

In October 2007, DJ Abdel officiated at the French ''Star Academy'', on TF1, as Official DJ.

Discography

Albums

2001: ''A L'Ancienne 1''

2002: ''A L'Ancienne 2''

2011: ''Evolution 2011''

;Mixes

''Collectif Rap 2'' (mixed by DJ Abdel and DJ Djel) (1999)

''R'n'B 2000 International'' (mixed by Cut Killer and DJ Abdel) (2000)

''Hip Hop Party Soul V'' (with DJ Cut Killer)

''Total R'N'B 1''

''Total R'N'B 2''

''Hip Hop Party Soul VI''

Singles

2001: "Only Thing I Need" feat. Jérome Prister & Doudou Masta (#61 FRA)

2002: "Let's boogie" (–)

2003: "Funky cops" (–)

2008: "All We Need" DJ Abdel - Loïs Andréa - Big Ali (#65 FRA)

2011: "Funk You" DJ Abdel & Mister You feat. Francisco (#12 FRA)

2011: "C'est ma life" feat. Soprano (#26 FRA)

2011: "Donnez-nous de la funk" feat. Wati Funk (–)

2011: "Bye Bye Sonyé" feat. Indila (–)

2011: "Pas de nouvelle, bonne nouvelle" feat. Maitre Gims and Black Mesrimes (#84 FRA)

Film Soundtracks

1998: ''H'' (TV series) (composer)

2001: ''La vérité si je mens! 2'' (composer)

2005: ''Bab el web'' (composer)

2006: ''Arthur et les Minimoys''

Filmography

''Funky Cops'' (2003) (music for the French series)

References

External links

DJ Abdel Official website

DJ Abdel MySpace site

DJ Abdel page on FG DJ Radio

Category:French DJs Category:Year of birth missing (living people) Category:Living people

eo:DJ Abdel fr:DJ Abdel pl:DJ Abdel

name	John Scofield
landscape	yes
background	non_vocal_instrumentalist
born	December 26, 1951 Dayton, Ohio, United States
genre	Post-bop, jazz fusion
instrument	Guitar
occupation	Musician, songwriter
associated acts	Miles Davis, Medeski Martin & Wood
label	EmArcy, Verve, Blue Note, Gramavision, Enja
years active	1970s-present
website
notable instruments	Ibanez Artist Series AS200 }}

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

Biography

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Equipment

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

Discography

As leader and co-leader

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

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

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

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

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

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

''Shinola'' (1981) - Enja Records

''Electric Outlet'' (1984) - Gramavision

''Still Warm'' (1985) - Gramavision

''Blue Matter'' (1986) - Gramavision

''Loud Jazz'' (1987) - Gramavision

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

''Flat Out'' (1989) - Gramavision

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

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

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

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

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

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

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

''Quiet'' (1996) - Verve

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

''Bump'' (2000) - Verve

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

''Überjam'' (2002) - Verve

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

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

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

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

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

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

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

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

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

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

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

Compilations

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

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

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

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

As a sideman

With Teodross Avery

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

With Paul Bley

''Hot'' (Soul Note, 1985)

With Gary Burton

''Times Like These'' (GRP, 1988)

With Billy Cobham

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

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

With Joe Beck & Larry Coryell

''Tributaries'' (1978) - Arista Novus

With the George Adams-Don Pullen Quartet

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

With Miles Davis

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

''Decoy'' (1984) - Sony Music

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

'''With John Ellis:

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

With David Friesen

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

With Bill Goodwin

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

With Jon Gordon

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

With Urbie Green

''Señor Blues'' (CTI, 1977)

With Herbie Hancock

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

With Jimmy Haslip

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

With Roy Haynes

''Love Letters'' (2003) - Columbia

With Joe Henderson

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

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

With Ron Holloway

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

With Marc Johnson

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

''Second Sight'' (1987) - ECM

''Bass Desires'' (1986) - ECM

With Lee Konitz

''Rhapsody II'' (1993) - Evidence

With Manhattan Jazz Quintet

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

With Gary Marks

''Gathering'' (1974) - Arewea Records

With Charles Mingus

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

With Gerry Mulligan and Chet Baker

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

With John Patitucci

''Now'' (1998) - Concord Jazz

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

''Rhythmstick'' (1990)

With Harvie Swartz

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

'''With Tommy Smith:

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

With Jeremy Steig

''Firefly'' (CTI, 1977)

With Gary Thomas

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

With Mark Antony Turnage

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

With Bugge Wesseltoft

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

With Lenny White

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

With Jack DeJohnette

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

With Keller Williams

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

Awards

In 1998, John Scofield was granted the Miles Davis Award by the Montreal International Jazz Festival.

References

External links

Official site

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

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