Music isn't about music, it's about life.
Herbie HancockRead
One thing that sticks in my mind is that jazz means freedom and openness. It's a music that, although it developed out of the African American experience, speaks more about the human experience than the experience of a particular people.
Interpretation
Jazz embodies freedom and speaks to the universal human experience despite its specific cultural origins.
In this quote, Herbie Hancock emphasizes that jazz music transcends its African American roots, encapsulating a broader message of freedom and openness. He suggests that while it originates from a particular culture, the essence of jazz conveys universal themes that resonate with the entire human experience, highlighting the power of music to connect people across different backgrounds.
In practice
In a speech about cultural diversity at a music festival, one might quote Hancock to emphasize the unifying power of jazz.
Music isn't about music, it's about life.
I don't mind being classified as a jazz artist, but I do mind being restricted to being a jazz artist. My foundation has been in jazz, though I didn't really start out that way. I started in classical music, but my formative years were in jazz, and it makes a great foundation.
In World War II, jazz absolutely was the music of freedom, and then in the Cold War, behind the Iron Curtain, same thing. It was all underground, but they needed the food of freedom that jazz offered.
I think people have learned that Herbie Hancock can be defined as someone that you won't be able to figure out what he's going to do next. The sky is the limit as far as I'm concerned.
I started off with classical music, and I got into jazz when I was about 14 years old. And I've been playing jazz ever since.
It's easy to get sidetracked with technology, and that is the danger, but ultimately you have to see what works with the music and what doesn't. In a lot of cases, less is more. In most cases, less is more.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
There was this moment when we made 'Superunknown': the Seattle music scene had suddenly ended up on an international stage with huge success.
A lot of people are promoting records that are just throw-it-agains t-the-wall-see- if-it-sticks meaningless bullshit. Everybody has the responsibility to do the right thing and promote artists that mean something.
I didn't want to play it boring and safe. I also didn't want to innovate too much. Second albums, man, they're even scarier than first ones.
Audiophiles don't use their equipment to listen to your music. Audiophiles use your music to listen to their equipment.
Paul Ryan's love for Rage Against The Machine is amusing, because he is the embodiment of the machine that our music has been raging against for two decades
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