The page numbers in this index refer to the printed version of this book. The link provided will take you to the beginning of that print page. You may need to scroll forward from that location to find the corresponding reference on your e-reader.
Academy Awards, 220, 250, 271–75
“Actual Proof” (song), 189–90
Adderley, Cannonball, 125, 237
Antonioni, Michelangelo, 95–96, 97–99, 100, 307
avant-garde music, 47–48, 69, 104–5, 125, 127, 161, 163, 169, 237, 238, 243
Beinhorn, Michael, 236, 237–38, 246, 307
Bell, Bryan, 68, 191–95, 196–97, 208–10, 211–15, 216–18, 227, 228, 229, 239, 245
Billy Eckstine Orchestra, 69–70
Birdland jazz club, 36–37, 41, 82, 258, 277
Bitches Brew (album), 122, 147, 308–9
Black Power movement, 113, 118–20
Blow-Up (film), 95–100, 110, 170
Blue Note Records, 41, 43, 44, 45, 46, 90, 91, 113, 173, 199, 251
Bonner, Billy, see Fundi (Billy Bonner)
Buddhism, 16, 153–58, 159–61, 170–73, 179, 181, 182, 189, 194, 204–5, 207–8, 209, 230, 231, 244, 263, 266, 271, 279–80, 287, 291, 294, 298, 303, 304, 318, 319, 320, 326, 328–29, 331, 332
Byrd, Donald, 32–35, 37, 38–40, 41, 43, 44, 45, 49, 50, 51, 52, 53, 54, 55, 56, 77, 112
Caplin, Dahlia Ambach, 313, 321
Carter, Ron, 1, 57, 58, 60, 61–62, 64, 67, 79, 88, 90, 92, 94, 99, 111, 112, 198, 201, 218, 221, 222, 223, 226, 254, 256, 283, 284
“Chan’s Song” (song), 257–58
Chicago, Ill., 3, 4, 5, 6–7, 13, 17, 18, 19, 29, 30, 32, 34, 36, 40, 42, 61, 69, 91–93, 154, 172, 182, 204, 205, 227, 266, 269, 276
London House gig in, 127–31, 132, 133, 140, 154, 169
Chicago Symphony Orchestra (CSO), 10–11, 12, 330
civil rights movement, 113, 120, 125
Clan of the Cave Bear (film), 260, 261, 262, 263
classical music, 4, 9, 11, 12, 19, 20, 21, 22, 23, 25, 57, 105, 204, 239, 297, 298, 319, 329–31
Coast to Coast (TV show), 276–77
Coleman, George, 57, 60, 64, 69, 70, 90
Coltrane, John, 32, 36, 54, 64, 85, 118, 198, 290, 320
Columbia Records, 93, 162, 181, 182, 188, 222, 229, 240–41, 243, 251, 277, 278, 284
Concrete Cowboys (TV show), 252, 253
Corea, Chick, 48–49, 110, 111, 169, 201–3, 218, 298
Creme, Lol, 241, 242, 244, 246
Crossings (album), 143, 144–48, 161, 179, 181, 211
Dance of the Infidels, The (Paudras), 251–52
Davis, Miles, 1–2, 30, 37, 48, 54–56, 57–61, 63–68, 69, 70, 74, 75–76, 77–78, 79–81, 82, 83, 84, 88, 90, 92, 93, 94, 101, 102, 103–4, 105, 106, 110, 111, 114, 118, 122, 147, 166, 183, 185, 189, 197, 198–99, 201, 221, 223, 224, 225, 277, 280, 281–83, 287–88, 291, 308–9, 310, 320, 330
death of, 283–84
generosity of, 70–71
health and drug issues of, 82, 91, 279–81, 282
HH’s first meeting with, 54–55
leadership and musical instruction of, 60, 61, 62–63, 65, 66, 94–95, 172, 223, 332
musical freedom allowed by, 60, 78, 115, 244
Tony Williams’s tense relationship with, 67–68
see also Miles Davis Quintet
Death Wish (film), 186–88, 196, 247, 295
DeJohnette, Jack, 99, 100, 292, 307
Different Fur Trading Company, 145, 180
digital audio, 196, 213, 214, 216, 218, 284, 285
Dis Is Da Drum (album), 285–86
“Dolphin Dance” (song), 91, 127, 140
Dolphy, Eric, 47–48, 56, 57, 141
DST (now DXT), 238, 244–45, 246
Eckstine, Billy, 69–70
electric piano, 103–4, 105, 117, 137, 139, 143–44, 185, 213, 225, 283, 327
see also synthesizers
electronic music, 104–5, 117, 145, 164, 169, 170, 177, 185–86, 190, 201, 203, 208, 214, 220–21, 224, 235, 236, 307, 308
piano in, 103–4, 105, 117, 137, 139, 143–44
sound gadgets and equipment used in, 143–44, 145, 149–50, 180, 192–93, 196, 210–14, 236
synthesizers in, see synthesizers
Ellington, Duke, 134, 198, 297
Emergency! (album), 309
E.S.P. (album), 88–89
Fairlight synthesizer, 219–20, 261
Fat Albert Rotunda (album), 117, 135, 161
“Fat Albert Rotunda” (song), 121, 123
Fender Rhodes electronic piano, 103–4, 105, 117, 143–44, 327
Forman, James, see Mtume (James Forman)
Fundi (Billy Bonner), 128, 130, 132, 167
funk music, 162, 173–75, 176, 199, 239, 319, 330
see also jazz-funk fusion
Future 2 Future (album), 307–8, 309
Future Shock (album), 238–39, 240–41, 244–46, 307
Gershwin’s World (album), 296–98
Gesang der Jünglinge (album), 104–5
Gillespie, Dizzy, 54, 70, 224, 277
Gleeson, Patrick, 144–46, 148–50, 175, 180, 196
Godley, Kevin, 241, 242, 244, 246
Gordon, Dexter, 46, 70, 251, 252, 257, 271, 272, 274
Grammy Awards, 220, 245–46, 274, 293–94, 307, 317–21, 330
Grinnell College, 24–28, 29, 40, 72, 120, 146
Hancock, Gigi, 73–74, 75, 91, 111, 117–18, 119, 142, 168, 228–29, 247, 263, 264, 265–66, 270, 272, 273, 274, 275, 283, 294, 321
HH’s courtship of, 74–75, 76–77, 89–90, 91, 95, 97, 105–9
HH’s drug use and, 84–85, 290, 299–300, 301, 302–3, 304
wedding and honeymoon of, 109–10
Hancock, Herbie:
AC Cobra of, 51–53, 59–60, 191, 215
advertising jingles by, 89–90, 113–14, 168, 176
African culture celebrated by, 120, 178, 179, 287
analytical approach of, 16–17, 21, 22, 43, 87, 114, 155, 292, 296, 323–24
artist collaboration albums with, 298, 309–13, 316, 323–24, 325–28
awards and nominations of, 245, 246, 272–75, 293–94, 307, 317–21
Benny Goodman gigs of, 93–94
Black Power movement and, 113, 119–20
boyhood piano playing by, 3–4, 9–12, 19–20, 21–23, 330
Buddhism and, 16, 153–58, 159–61, 170–73, 179, 181, 182, 189, 194, 204–5, 207–8, 209, 230, 231, 244, 263, 266, 271, 279–80, 287, 291, 298, 303, 304, 318, 319, 320, 326, 328–29, 331, 332
Byrd’s apartment shared by, 38–39, 49
changes in musical direction of, 165–67, 169–70, 172–74, 175, 176, 181, 184, 185, 214, 234, 235, 236–40, 246–47, 287–88, 292, 306
Chick Corea’s tour with, 201–3, 218
childhood and adolescence of, 3–4, 5, 6–23, 40, 42, 43, 80, 87, 227, 287
churchgoing and, 15–16, 154, 155
in Conrad Silvert’s jazz concert, 232, 233
controlling of emotions by, 17, 19, 87, 265, 270–71
creative technological modifications used by, 143–44, 145–46, 149–50, 192–93, 196, 208–10, 211–14, 217–18
development of own musical style by, 48, 110, 114, 136
in Donald Byrd’s band, 33–35, 37–38, 39, 55, 77
drinking by, 40, 83–84, 106, 304
drug use of, 39–40, 82, 83, 84–87, 125–26, 235, 247, 248–49, 289–91, 299–304, 305
earnings of, 37–38, 50–51, 168
electronic equipment and gadgets used by, 80–81, 103, 136, 139–40, 143–44, 146, 180, 196, 210–14, 236, 244–45, 261, 262, 278, 285–86
electronic instruments used by, 103–4, 105, 117, 137, 139, 143–44, 150, 170, 175, 177, 180, 183, 185, 186–87, 190, 193, 196, 208, 212, 214, 219, 220–21, 245, 281, 282–83
Eric Dolphy tour joined by, 47–48, 56, 141
exploration and creation of new musical sounds by, 101–3, 112, 115, 133, 134, 136, 143–44, 150, 168, 180, 186–87, 193, 211–12, 236, 282, 284, 287–88, 306, 327–28
family background of, 4–6
Fat Albert soundtrack by, 116–17, 170
Gambia trip of, 261–63
Gigi’s relationship with, see Hancock, Gigi
girlfriends and dating of, 15, 72–73, 107
“global” music project of, 322–24, 325–28
Grammy Awards performances of, 245–46, 319–20, 330
at Grinnell College, 24–28, 29, 40, 72, 120, 146
hand surgery of, 229–33
Icelandic glacier visited by, 260–61, 271
improvising skills self-taught by, 21–23, 114
Indian trip of, 324–25
mechanics and science as passion of, 9, 16, 21, 24, 80, 103, 146, 261, 286
at Miles Davis and Friends show, 282–83
in Miles Davis Quintet, see Miles Davis Quintet
in move to New York, 35, 36–37
movie scores by, 46, 95–100, 170, 186–88, 189, 196, 247–50, 251–52, 254, 255, 256–60, 272, 273, 277
music listened to by, 19, 21, 22, 26, 85, 101, 104, 116
music snobbery and, 69, 103–4, 166, 173, 174, 225
music videos of, 240–44, 245, 246, 286–87
new musical technology embraced by, 80, 139–40, 143–44, 185, 195–97, 211, 213, 214, 216–17, 218, 219–20, 261, 262, 278, 284–85
in Newport retrospective concert, 197–201, 221
at New York Philharmonic’s Chinese New Year celebration, 330–31
nightlife of, 72–73, 97, 106, 151, 255–56, 289–90, 300
prototypes shown to, 195–97, 218, 219–20, 262
publishing of own songs by, 44, 45, 50, 53, 112
Quincy Jones partnership proposal of, 277–78, 284
race and racism as viewed by, 12, 13, 14–15, 43, 107, 119, 120
record contracts of, 45, 113, 114, 162, 277, 291
recording session gigs and guest spots by, 38, 40, 41, 43, 47, 77, 313–14, 315
rehab and recovery of, 303–5
in Round Midnight, 252, 254–55, 258–60
schooling of, 13–14, 24–25, 26–27, 29, 40, 146
Shorter’s duets with, 295–96
sister’s death and, 264–67, 268–71, 276, 293
sister’s tense relationship with, 8–9, 106, 205–7, 208, 269–70
solo recordings by, 25, 45–47, 90–91, 99–100, 101–103, 110, 111, 112, 113, 114, 119, 199, 217, 235–236, 237–239, 240–241, 246, 251, 278, 284, 285–286, 287, 291–294, 296–298, 306, 307–308, 309–313, 315, 316, 318; see also specific albums and songs
songwriting by, 40, 41–43, 44, 46, 88–91, 102–3, 111, 113–14, 116–17, 170, 176, 177, 186–88, 189, 211, 212, 216, 217, 235, 247–48, 254, 255, 256–58, 277, 293, 295
television appearances and shows of, 252–54, 276–77
in Tribute to Miles tour, 283, 284
as UNESCO Goodwill Ambassador, 329
V.S.O.P. tours of, 201, 203, 218, 221–24, 225–27, 266
see also Headhunters; Herbie Hancock Sextet; Mwandishi (band)
Hancock, Jean, 3, 6–7, 8–9, 40, 91, 126, 148–49, 267–68, 293–94
death of, 264–67, 268–71, 276, 293
HH’s tense relationship with, 8–9, 106, 205–7, 208, 269–70
Hancock, Jessica, 117–18, 142, 158–59, 160, 241, 255, 263, 264, 265, 266, 270, 271, 301, 303, 304, 317, 321
Hancock, Wayman (brother), 3, 4, 7, 9–10, 16, 40, 61, 109, 266, 330
Hancock, Wayman (father), 3, 4, 5–6, 7, 9, 13, 14, 15, 16, 18, 29, 31, 34, 38, 87, 119, 131, 204, 266, 287, 294, 321
Hancock, Winnie Griffin, 3–5, 9, 13, 14, 15, 16, 18, 20–21, 24, 29, 31, 34–35, 38, 73, 87, 106, 119, 131, 204–5, 207–8, 239, 266–67, 276, 287, 294, 321
bipolar disorder of, 5, 6, 8, 205, 266
Headhunters, 176–86, 197, 198, 199, 201, 203, 217–18, 282
electronic instruments and gadgets used by, 177, 180, 183, 190, 192–93, 212–14, 220–21
jazz-funk sound of, 176–79, 182, 183, 185, 188, 234
recordings by, 177–81, 182, 183, 184, 188–90, 192–93, 194, 197, 210, 211, 214, 221–22, 245, 252, 256, 299
touring by, 182–84, 192, 193, 194–95, 197, 214, 299
Head Hunters (album), 177–81, 182, 183, 184, 185, 186, 188, 197, 211, 245, 252, 256, 299
Henderson, Eddie, 122, 123, 131, 150, 168
Herbie Hancock Sextet, 112–13, 114–15, 116, 117, 118, 119–21
Hey, Hey, Hey, It’s Fat Albert (TV special), 117, 170
hip-hop music, 246–47, 307, 318, 319, 330
Holiday, Billie, 274, 309, 314
Hubbard, Freddie, 41, 46, 47, 90, 99, 199, 218, 221–22, 254, 256
“Hush Hush Hush” (song), 311–12
Hyde Park High School, 13–14, 15, 19, 20, 24
“I Do It for Your Love” (song), 310–11, 312
Imagine Project, The (album), 323, 325–28
improvisation, 2, 21–23, 26, 27, 33, 47, 60, 114, 115, 139, 163, 183–84, 202, 287, 291, 310, 319
in Miles Davis Quintet, 60, 64, 65, 92
Iron Butterfly, 120–21, 122, 164, 166, 299
Jackson, Michael, 236, 243, 246, 278
Jackson, Paul, 175, 176–77, 180, 183–84, 189–90, 299
Japan, 73, 171, 197, 218, 225, 226, 295, 326
jazz, 4, 19, 24, 25–26, 29, 30, 33, 34, 43, 47–48, 49, 54, 69, 74, 89, 114–15, 136, 137, 147, 162, 164, 169, 174, 176, 183, 184, 197, 199, 201, 214, 221, 222, 223, 224, 225, 232, 235, 237, 239, 244, 246, 250, 260, 288, 291, 292, 296, 297, 298, 307, 310, 313, 314, 318, 323, 325, 330
avant-garde movement in, 47–48, 69, 127, 161, 163, 169
improvising in, 2, 20, 21–23, 26, 27, 47, 60, 65, 92, 114, 115, 287, 291, 310
in New York scene, 34, 36–37, 38, 48, 99, 100
Round Midnight and, 251–52, 254–55, 256, 273, 274–75
jazz-funk fusion, 144, 176–79, 182, 183, 185, 188
jazz-rock fusion, 169, 179, 221, 308, 309
Jerry (self-proclaimed mystic), 128, 129, 130–31
Jewison, Norman, 247, 248, 249–50
Jones, Quincy, 219–20, 228, 248, 277–78, 284, 320
Journey of Man (PBS documentary), 322, 323
King, Martin Luther, Jr., 113, 324–25
Klein, Larry, 315, 316, 320, 321, 322, 323, 325–26, 327
Laswell, Bill, 236, 237–38, 246, 277, 307
Latin jazz, 48–49
Lite Me Up (album), 234, 235–36
Live at the Plugged Nickel (album), 92–93
Lofstrom, Keith, 209, 215, 217, 227, 228, 229
London House, 127–31, 132, 133, 140, 154, 169
Los Angeles, Calif., 117, 172, 192, 202, 205, 210, 216, 219, 234, 235, 236, 247, 248, 249, 263, 265, 266, 272, 276, 320, 327
Troubador Club in, 164, 165, 167
Lundvall, Bruce, 162, 251, 274
Maiden Voyage (album), 90–91, 101
“Maiden Voyage” (song), 91, 113, 121, 127, 139, 176, 200, 270, 293
“Manhattan” (song), 293–94
Marsalis, Branford, 226–27, 255
Mason, Harvey, 175, 177, 178, 184, 188
Maupin, Bennie, 122, 123, 124–25, 129, 131, 134, 138, 139, 141, 150, 168, 175, 182–83, 299
Meilandt, Tony, 235, 236–37, 238, 240, 241, 242, 243, 244, 246, 255, 271–72, 276
Miles Davis and Friends shows, 282–83
Miles Davis Quintet, 1–2, 48, 54, 60–69, 70, 72, 73, 75–76, 77–83, 84, 91–93, 94, 101, 106, 107, 112, 114, 125, 127, 140, 144, 197, 198, 199, 201, 221, 223, 239, 279, 308, 309, 332
continuous stretching and learning in, 60, 63–66, 78, 92–93, 94–95, 105
HH’s departure from, 110–11
HH’s first rehearsals with, 57–58
improvisatory style of, 60, 64, 65, 92
proposed reunion show for, 281–82
recording sessions of, 58–59, 80, 88–89, 94–95, 103–4, 105
rehearsal avoided by, 58–59, 61, 65, 68
Shorter’s joining of, 60, 68, 77–78
Miles in the Sky (album), 103, 105
Miles Smiles (album), 94–95
Mitchell, Joni, 38, 277, 298, 313–16, 320, 321
Monk, Thelonious, 30, 32, 38, 54, 118, 274
Mozart, Wolfgang Amadeus, 10, 11, 12
Mtume (James Forman), 118–20
Muppet Show, The (TV show), 261–63
Mwandishi (album), 135–37, 146, 147, 161, 211
Mwandishi (band), 48, 121–53, 165–70, 172, 175, 176, 178, 181, 183, 184, 197, 237, 251, 277, 282
bonding and unity in, 123, 125, 136, 139, 141, 168
electronic instruments and gadgets used by, 143–44, 145–46, 148, 149–50, 170
financial struggles of, 139, 140, 141–42, 167–68
first European tour of, 137–41, 168
in HH retrospective concert, 198, 199, 200–201
in-the-moment style of playing in, 123, 127, 133–34, 146–47, 150, 164
Iron Butterfly show of, 121–22, 164, 166, 299
London House gig of, 127–31, 132, 133, 154, 169
musical exploration and pushing of boundaries by, 123, 124, 126–27, 133–34, 136, 137, 140–41, 143, 146, 150, 162, 168
mystical experiences of, 122–23, 128–32, 133, 152–53, 154, 168–69
Pointer Sisters gigs of, 164–67, 174
recordings by, 135–37, 143, 144–48, 161–63, 165–66, 170
spaced-out, sonic sound of, 127–28, 134, 137, 140, 145, 146, 162, 169, 177, 200, 234
Swahili names of, 119–20, 128, 148–49
tensions within, 141–43, 167–69
Newport Jazz Festival, 197–201, 221
New Standard, The (album), 291–94
New York, N.Y., 34–37, 40, 47, 51, 56, 59, 72, 83, 99, 142, 158, 159, 168, 186, 227, 236, 240, 246, 247, 251, 278, 288
Birdland jazz club in, 36–37, 41, 82, 258, 277
jazz scene in, 34, 36–37, 38, 48, 99, 100, 121–22
Nichiren Buddhism, see Buddhism
Nichiren Daishonin, 159–60, 161, 171
1+1 (album), 295–96
Paris, 138, 252, 254–56, 263, 281–82, 294
Parker, Charlie, 36, 54, 70, 198, 274, 290
personal computers (PCs), 195, 214–17, 220
Peterson, Oscar, 22, 25, 30, 127
Plugged Nickel nightclub, 91, 92, 93
Pointer Sisters, 163, 164–67, 174
Possibilities (album), 309–13, 326
Priester, Julian, 122, 123, 131, 141, 168
Prisoner, The (album), 113, 114, 119
R&B music, 7, 9, 19, 46, 116, 135, 164, 235, 245, 280, 318
Ravel, Maurice, 256–57, 297–98
Return of the Headhunters (album), 299
“Rhapsody in Blue” (Song), 319–20, 330
River: The Joni Letters (album), 313, 315, 316, 318, 320
“Rockit” (song), 238, 240, 241, 245, 247, 255, 307
music video for, 241, 242–44, 245, 246
rock music, 69, 89, 125, 136, 143, 162, 169, 174, 225, 276, 310, 318
Round Midnight (film), 46, 251–52, 254–55, 256–60, 263, 271–72, 273, 276, 277, 297
Rubinson, David, 135–37, 143, 144–45, 147, 148, 158, 162, 164, 165, 166, 167–68, 177, 180–81, 197, 234, 238–39, 240, 248–49, 264, 270, 276
San Francisco, Calif., 115, 124, 125–26, 136, 144, 145, 148, 158, 179, 194, 206, 216, 232, 234, 249, 266
Santamaria, Mongo, 48, 49, 50, 53, 201
Santana, Carlos, 135, 147, 182, 211, 232, 245
Schaefer Music Festival, 121–22
Secrets (album), 192, 193, 194
Seven Steps to Heaven (album), 59
Sextant (album), 162–63, 179, 181, 211
Shearing, George, 20–22, 26, 37, 114, 127
Shorter, Ana Maria, 283, 294–95
Shorter, Wayne, 1, 41, 60, 68, 77–80, 81–82, 84, 88, 92, 93, 102, 110, 111, 138, 169, 198, 201, 218, 221, 222, 223, 225, 226, 227, 232, 237, 254, 256, 281–82, 283, 284, 293, 294–96, 299, 307, 314, 315–16, 321, 325
Silver, Horace, 38, 41, 42, 122
Soka Gakkai International (SGI), 155, 171, 182, 205
Soldier’s Story, A (film), 247–50
Speak Like a Child (album), 101–3, 110, 111, 112, 152
“Speak Like a Child” (song), 123, 127, 140
Spook Who Sat by the Door, The (film), 170, 189, 247
Summers, Bill, 175, 178, 285, 299
synthesizers, 143, 144, 145, 146, 148, 162, 170, 175, 177, 180, 183, 185, 186–87, 191, 196, 214, 220, 236, 243, 245, 281
creative technological modifications for, 143–44, 145–46, 149–50, 192–93, 196, 208–10, 211–14
technological advances in, 149, 213, 217, 219–20, 261
Takin’ Off (album), 45–47, 199, 251
Tavernier, Bertrand, 251–52, 254, 257, 258, 259, 274
Tony Williams Lifetime, 169, 184, 282, 309
Tribute to Miles tour, 283, 284
Troubadour Club, 164, 165, 167
Verve records, 291–92, 296, 297–98, 313, 321
Village Vanguard, 76, 81, 84, 105, 112, 132
V.S.O.P., 199, 200, 201, 203, 218, 221–24, 225–27, 234, 266
Warner Bros. (film studio), 251, 254, 255, 256, 260
Warner Bros. Records, 114, 116, 117, 135, 136, 137, 147–48, 161–62
“Watermelon Man,” 42–43, 44, 45, 46, 47, 49–50, 51, 53, 112, 168, 173, 178, 282
Weather Report, 102, 138, 169, 184, 282
Williams, Buster, 62–63, 112–13, 117, 120, 121, 122, 123, 128, 129, 130, 131, 134, 142–43, 152–56, 158, 160, 161, 168, 169, 175, 200–201
Williams, Tony, 1, 56–57, 59, 60, 61–62, 63, 64, 66–69, 77, 78, 90, 92, 94, 104, 110, 111, 169, 184, 198, 201, 218, 221, 222, 223, 225, 226, 232, 254, 256, 281–82, 283, 307–9
Winner, Michael, 186, 187, 188
Wonder, Stevie, 175, 177, 219, 258, 292, 298, 312–13
Xerox Palo Alto Research Center (Xerox PARC), 194–97