Herbie Hancock

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: A Man for All Seasons, Be They Heavy or Lighthearted, Hip Jazz or Hip-Hop, Natural or Digital" by , Musician (January 1985) p. 58 , 1985

redefined swing for modern jazz pianists for the latter half of the 20th century up until today. I consider him to be the major influence that formed my roots in jazz piano playing. He mastered the balance between technique, hard blues grooving, and tenderness. You'll find Oscar Peterson's influence in the generations that come after him. No one will ever be able to take his place.

"Herbie Hancock on the Passing of Oscar Peterson". HerbieHancock.com. December 24, 2007. , 2007

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.

As quoted in "Herbie Hancock--Keyboard Virtuoso Turns Vocalist," Call and Post (July 29, 1978), p. 12A and "Keyboard Wizard Herbie Hancock Stirring Up Innovations Again," Atlanta Daily World (June 25, 1978), p. 10 , 1978

[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.

As quoted in Jazz-Rock Fusion, the people, the music (2000) by Julie Coryell and Laura Friedman, p. 204 , 2000

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.

Speaking with Bill Flanagan, c. January 1985; op. cit., p. 90 , 1985