Herbie Hancock

Award won Role or nomination

1. 1940 age 0

   Born

2. 1966 age 26

   CreditBlowupcomposer

3. 1974 age 34

   CreditDeath Wishcomposer

4. 1984 age 44

   CreditA Soldier's Storycomposer

5. 1986 age 46

   CreditRound Midnight

   CreditRound Midnightcomposer

6. 1988 age 48

   CreditAction Jacksoncomposer

   CreditColorscomposer

7. 1989 age 49

   CreditHarlem Nightscomposer

8. 2017 age 77

   CreditValérian and the City of a Thousand Planets

• IWIrwin Winkler2 titles
• MTMary Ellen Trainor1 title
• GBGrand L. Bush1 title
• RDRobert Duvall1 title
• JSJoel Silver1 title
• DHDavid Hemmings1 title
• TWThomas F. Wilson1 title
• CGCourtney Gains1 title
• JGJeff Goldblum1 title
• FMFrancis X. McCarthy1 title

• 
  Photo:Werner NiekeCC BY 2.0
• 
  Photo:Library of Congress LifeCC0
• 
  Photo:pixgremlin: http://www.aworan.com c/o Pix GremlinCC BY 2.0
• 
  Photo:Sjaak from NetherlandsCC BY-SA 2.0

• I remember we were at some club in Detroit, and playing all kinds of crazy things behind George, while behind Miles we played really straight. And Miles said afterward, "Why don't you play like that behind me?" That's when Tony and I began playing our little musical game behind Miles. After only four days, it turned around and he was leading us. And Miles began playing different after that. It was the most uncannily rapid adaptation I could ever imagine.

  Herbie Hancock, CC BY-SA 4.0

• I realized I could never be a genius in the class of Miles, Parker or Coltrane, so I might just as well forget about becoming a legend and just be satisfied to create some music to make people happy. I no longer wanted to write the Great American Masterpiece.

  Herbie Hancock, CC BY-SA 4.0

• I'm not a chauffeur. Nobody would have bought any of my records if I were. I'd have had nothing to say. I'm supposed to be presenting things to the public, not accepting requests. I call the shots. They don't have to like it. I really wanted to develop my career in such a way that I have the freedom to do what I want to do, and not have that considered bizarre. I think I'm finally at that point. People are no longer surprised when I come out with something different. I've done it enough now. That's what I've wanted all this time.

  Herbie Hancock, CC BY-SA 4.0

• Hey, man; I would never dare to sing alone and unaided. I mean, nobody would want to hear the sound of my natural voice. But by singing through this new machine, I can mix what I sing with what I play on the synthesizer and it comes out sounding like you hear it on Sunlight. [...] What it all means is that I can sing "I love you, baby" down while playing different notes with the same rhythm up on the synthesizer ... Now any keyboard player who can coordinate his playing with his singing can sing anything he wants to ... and be able to do all the things singers can't do that instrumentalists can.

  Herbie Hancock, CC BY-SA 4.0

• [B]y the time I actually heard , 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 – 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 and , finally. You know, that's where it came from.

  Herbie Hancock, CC BY-SA 4.0

• I didn't know whether Wayne was crazy or a genius. I knew something was there, but I couldn't get a handle on it. We were playing some club outside of Boston. After the gig, I got a bottle of cognac and went back to his hotel room and we drank. And we talked for hours. And I began to see that there were word games that Wayne would play. His whole approach was much more like poetry, if anything, than how we normally perceive standard conversation. His way of speaking was on a much higher plane. I did come to the conclusion that he was a genius, not crazy.

  Herbie Hancock, CC BY-SA 4.0