"One thing I like about jazz is that it emphasized doing things differently from what other people were doing"
About this Quote
Jazz isn’t just a genre here; it’s a permission slip. When Herbie Hancock says he liked that jazz “emphasized doing things differently,” he’s naming the real addiction: not swing or harmony, but the thrill of refusing the default setting. Jazz, at its best, doesn’t reward obedience. It rewards nerve - the decision to take the melody somewhere it “shouldn’t” go, to treat mistakes as raw material, to turn a wrong note into a new rule.
Hancock’s phrasing is tellingly modest: “one thing,” “I like,” “differently.” A lesser artist might dress this up as rebellion-for-rebellion’s-sake. Hancock frames difference as a discipline, almost an ethic. In jazz, standing out isn’t a branding strategy; it’s the job. You learn standards so you can escape them. You master the changes so you can bend time against them. Individual voice is earned in public, under pressure, with other musicians reacting in real time.
The context matters: Hancock comes of age as jazz is mutating fast - bebop’s speed, Miles Davis’s cool minimalism, then the electric experiments that scandalized purists and rewired popular music. His career is basically a long argument that innovation can be soulful, that technology can swing, that crossing over doesn’t have to mean selling out. The subtext is cultural, too: jazz as a Black American art form where “doing things differently” isn’t a cute aesthetic preference; it’s survival, creativity, and self-definition amplified into sound.
Hancock’s phrasing is tellingly modest: “one thing,” “I like,” “differently.” A lesser artist might dress this up as rebellion-for-rebellion’s-sake. Hancock frames difference as a discipline, almost an ethic. In jazz, standing out isn’t a branding strategy; it’s the job. You learn standards so you can escape them. You master the changes so you can bend time against them. Individual voice is earned in public, under pressure, with other musicians reacting in real time.
The context matters: Hancock comes of age as jazz is mutating fast - bebop’s speed, Miles Davis’s cool minimalism, then the electric experiments that scandalized purists and rewired popular music. His career is basically a long argument that innovation can be soulful, that technology can swing, that crossing over doesn’t have to mean selling out. The subtext is cultural, too: jazz as a Black American art form where “doing things differently” isn’t a cute aesthetic preference; it’s survival, creativity, and self-definition amplified into sound.
Quote Details
| Topic | Music |
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