"A great teacher is one who realizes that he himself is also a student."
~ Herbie Hancock
📸CC BY-SA 4.0 via Wikimedia Commons
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"A great teacher is one who realizes that he himself is also a student."
~ Herbie Hancock
📸CC BY-SA 4.0 via Wikimedia Commons

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Herbie Hancock & Carlos Santana – Live Under The Sky
Personnel Double Bass – Ron Carter Drums – Tony Williams Electric Guitar – Carlos Santana Grand Piano, Keyboards – Herbie Hancock Percussion – Armando Peraza, Orestes Vilato, Raul Rekow Trumpet – Wynton Marsalis
Herbie Hancock – Sound-System
Sound-System is the thirtieth album by jazz pianist Herbie Hancockand the second of three albums co-produced by Bill Laswell with the ‘Rockit’ Band. Guest artists include saxophonist Wayne Shorter, guitarist Henry Kaiser, kora player/percussionist Foday Musa Suso and drummer Anton Fier.
Reception
AllMusic review by Richard S. Ginell gave the album 3 stars and write:”In the grand tradition of sequels, Sound-System picks up from where Future Shock left off — if anything, even louder and more bleakly industrial than before (indeed, “Hardrock” is “Rockit” with a heavier rock edge). Yet Hancock’s experiments with techno-pop were leading him in the general direction of Africa, explicitly so with the addition of the Gambian multi-instrumentalist Foday Musa Suso on half of the tracks. “Junku,” written for the 1984 Olympic Games with Suso’s electrified kora in the lead, is the transition track that stands halfway between “Rockit” and Hancock’s mid-’80s Afro-jazz fusions. Also, “Karabali” features an old cohort, the squealing Wayne Shorter on soprano sax. Despite succumbing a bit to the overwhelming demand for more “Rockits,” Hancock’s electric music still retained its adventurous edge.”
Jazz History: Herbie Hancock Opens International Jazz Day 2015 🎹 | A Message of Unity Through Jazz
Step back into the celebration of International Jazz Day 2015 as jazz legend Herbie Hancock welcomes audiences from around the world. As UNESCO Goodwill Ambassador and Chairman of International Jazz Day, Hancock shares a powerful message about the role of jazz in promoting peace, dialogue, creativity, and cultural understanding across nations. 🎷 International Jazz Day unites communities worldwide through the universal language of jazz. 👉 What does jazz mean to you? Share your thoughts in the comments!
*The video file is licensed under the Creative Commons Attribution-ShareAlike 3.0 IGO license / via Wikimedia Commons. **AI-generated thumbnail with ChatGPT ; AI-generated subtitles with ClipMagic. Creative concept, prompt design, and curation by ProJazz.
Herbie Hancock – Crossings
Crossings is the tenth album by jazz pianist Herbie Hancock, released in 1972. It is the second album in his Mwandishi period, which saw him experimenting in electronics. The album is the band’s first to feature new member, synthesizer player Patrick Gleeson. He was scheduled to “set up his Moog synthesizer for Hancock to play.” However, Hancock was so impressed with Gleeson that he “asked Gleeson not only to do the overdubs on the album but join the group.”
Crossings, along with Fat Albert Rotunda and Mwandishi, was reissued in one set as Mwandishi: The Complete Warner Bros. Recordings in 1994 and as The Warner Bros. Years (1969-1972) in 2014.
Reception
The Allmusic review by Richard S. Ginell awarded the album 5 stars and stated: “With the frenzied knocking of what sounds like a clock shop gone berserk, Crossings takes the Herbie Hancock Sextet even further into the electric avant-garde, creating its own idiom.”
Personnel: Herbie Hancock – piano, electric piano, mellotron, percussion Eddie Henderson – trumpet, flugelhorn, percussion Bennie Maupin – soprano saxophone, alto flute, bass clarinet, piccolo, percussion Julian Priester – tenor and alto trombones, bass, percussion Buster Williams – bass guitar, double bass, percussion Billy Hart – drums, percussion
with:
Patrick Gleeson – Moog synthesizer Victor Pantoja – congas Candy Love, Sandra Stevens, Della Horne, Victoria Domagalski, Scott Breach – voices

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Herbie Hancock – Empyrean Isles
Empyrean Isles is the fourth studio album by American jazz pianist Herbie Hancock, recorded in 1964 for Blue Note Records.
Reception
The Penguin Guide to Jazz awarded Empyrean Isles four out of four stars.
AllMusic critic Stephen Thomas Erlewine gave the album five out of five stars, calling it “a record that officially established Hancock as a major artist in his own right.”
Personnel: Herbie Hancock – piano Freddie Hubbard – cornet Ron Carter – bass Tony Williams – drums
Herbie Hancock – Future Shock
Future Shock is the twenty-ninth album by American jazz pianist Herbie Hancock, released in August 1983 by Columbia Records. It was his first release from his electro-funk era and an early example of instrumental hip hop.
Reception
AllMusic review by Richard S. Ginell gave the album 3.5 stars stating “Herbie Hancock completely overhauled his sound and conquered MTV with his most radical step forward since the sextet days.”
Personnel Herbie Hancock – piano, synthesizer, Fairlight CMI, keyboards Bill Laswell – electric bass D.ST. – turntables, “FX” Pete Cosey – electric guitar Michael Beinhorn – keyboards Daniel Poncé – percussion Sly Dunbar – drums, percussion Dwight Jackson Jr. – lead vocals on “Future Shock” Lamar Wright – lead vocals on “Rough” Bernard Fowler, D.S.T., Roger Trilling, Nicky Skopelitis – backing vocals
Intersezione tra il concetto di E.S.P. (Percezione Extrasensoriale) by Carl Gustav Jung e il disco omonimo (ma anche i singoli pezzi) a cura
Che cosa accomuna la psicologia analitica di Carl Gustav Jung e il jazz visionario di Miles Davis?
Una sigla di tre lettere: ESP, Extra Sensory Perception.
Da un lato, Jung ha esplorato i territori dell'inconscio collettivo, delle intuizioni improvvise e delle connessioni che sfuggono alla logica lineare. Dall'altro, nel 1965, Miles Davis pubblica l'album E.S.P., trasformando la percezione extrasensoriale in un'esperienza sonora.
Con Wayne Shorter, Herbie Hancock, Ron Carter e Tony Williams, il secondo grande quintetto di Davis raggiunge un livello di dialogo musicale quasi telepatico: nessuno accompagna, tutti ascoltano, tutti anticipano.
Brani come E.S.P., Little One, Iris e Agitation raccontano una forma di comunicazione che va oltre le parole e perfino oltre le note.
L'ESP, allora, non è solo un fenomeno paranormale: è la metafora di ciò che accade quando intuizione, creatività e ascolto profondo si incontrano.
📖 Dal pensiero junghiano al jazz modale, un viaggio tra psiche, improvvisazione e connessioni invisibili.