But that’s how new frontiers are explored, and Hancock knew it.
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Time and again, I wished I could tell Hancock to slow down already, to enjoy the sounds he has rather than bending existing hardware and software to his every whim. His rarely slowed down in his chasing of sounds, cranking out record after record with an early ’80s digital interface. Bell would drill holes into the Moogs, potentially voiding their warranty. If Hancock wanted the perfect sound to come out of a Moog crossed with something else, Bell would oblige. Through the late ’70s and early ’80s, Hancock and ex-Mahavinshu Orchestra soundman Bryan Bell were a wiz-kid team. In his musical laboratory, he was never content to settle with what hardware was available on the market.
Towards the end of the book, Hancock is looking down the barrel of a similar situation, where he has to learn Gerswhin’s “Rhapsody in Blue” for a duet with Lang Lang at a Grammy ceremony. Rather than back down, Hancock buckled down and learned the new piece in time to perform it with the Chicago Symphony Orchestra. Hancock suspected it was a likely an attempt to get him to cancel his own performance, a rare moment when he acknowledges some racial profiling. Shortly before the performance, he and his teacher were informed that the orchestra’s copies of the score were lost and that he had to learn another Mozart piano concerto instead. He was supposed to learn Mozart’s Piano Concerto No.18 in B-flat Major, K. As a child, he won a competition to perform with the Chicago Symphony Orchestra. Whether in childhood or adulthood, Hancock strove to be an overachiever in music and technology. Faltering grades and an obsessive dedication to curating a big band performance that no one in the middle of Iowa necessarily asked for but gladly attended convinced Hancock that music was his ticket to life. He entered into the engineering department to assure his mother that he would be gainfully employed after graduation. When he arrived at Grinnell for his college education, he had to make a choice: music or engineering? In the long run, he didn’t make the choice so much as the choice was made for him. Hancock walked a line between the two through his teenage years. When it comes to his childhood interests, it’s fuzzy to tell if the mechanics of music drew him to engineering or if the prospects of technology drew him to music. It was likely occurring all around him, but Hancock sees it as regressive to acknowledge it. This practice of skirting negativity probably explains the lack of racial tension in Possibilities. In plain terms, he states that be refused to be a victim. Hancock saw friends, family and neighbors struggle with the mid-century color barrier. Her voice is heard in excerpts of essays she wrote for classes, which are included in the book, providing insights that the author admits to not having. He admits that he can’t help but remember all the positive aspects of his old neighborhood while his late sister recalled things very differently. These are his default modes, and it is through these filters that he tells his story.
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Hancock sees just about anything life throws at him as an opportunity for growth, even a late ’90s crack addiction that he tried to hide from his family.Īs he quickly takes you back to his childhood on the south side of Chicago by the third page, two things become clear: Hancock is both an optimist and highly analytical. If a gig falls through, money is lost, a member quits a band, or if he ushers Miles Davis’s quintet into the boss’s solo to “So What” with a wrong chord, it’s all a chance for growth.
If he can’t learn the classical piece “Er Huang” by Chinese composer Qigang Chen thoroughly enough in time for a one-off performance, he uses it as an excuse to chant some more. If there’s an album running behind schedule, great! He figures out a way to use it to his advantage. He uses this spiritual angle again and again as a gentle reminder that he likes to turn obstacles into opportunities. Hancock has been a practicing Buddhist for almost all of his adult life. Hancock treats every one of these Possibilities as a chance to further himself musically, personally, business-wise, or sometimes all of the above. His autobiography broadly traces the many musical opportunities that fell into his lap and the ingenuity he used to turn them into career milestones. For legendary jazz chameleon Herbie Hancock’s story, however, it’s a good fit. Possibilities sounds like a generic name for a memoir.
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