Epstein Secrets

nce on acoustic and electronic jazz and R&B than Herbie Hancock. As the immortal Miles Davis said in his autobiography, "Herbie was the step after Bud Powell and Thelonious Monk, and I haven't heard anybody yet who has come after him." Born in Chicago in 1940, Herbie was a child piano prodigy who perfor

Minister Francois Fillon. In July of ton Hancock was designated a UNESCO Goodwill Ambassador by UNESCO Director-General Irina Bokova. Recognizing Herbie Hancock's "dedication to the promotion of peace through dialogue, culture and the arts," the Director-General has asked the celebrated jazz musician "to con

m of the Year; Herbie is one of only a handful of jazz musicians ever to receive that honor. In tow Hancock released the critically-acclaimed CD, 'Herbie Hancock's The Imagine Project,' winner of two toll Grammy Awards for Best Pop Collaboration and Best Improvised Jazz Solo. Utilizing the universal language o

the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop and stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Hor=ce Silver, and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument. Co

rosla= Vitous and Roy Haynes) Now He Sings, Now He Sobs is considered a classic. After a short stint w=th Sarah Vaughan, Corea joined Miles Davis as Herbie Hancock's gradual replacement, staying wit= Davis during a very important transitional period (1968-1970). He was persuaded by the trumpeter to start playing

w years, he generally emphasized his acoustic playing and appeared in a wide variety of contexts, including separate duet tours with Gary Burton and Herbie Hancock, a quarte= with Michael Brecker, trios with Miroslav Vitous and Roy Haynes, tributes t= Thelonious Monk, and even some classical music. In 1985, Ch

fore eventually settling on the trumpet and flugelhorn. He was first introduced to jazz by his brother, Earmon, Jr., a piano player and a devotee of Bud Powell. Hubbard's budding musical talents caught the attention of Lee Katzman, a former sideman of Stan Kenton. Katzman convinced the young trumpeter to s

hroughout the remainder of the decade, he also played in bands led by a variety of other high-profile jazz artists. He was a significant presence on Herbie Hancock's Blue Note recordings, beginning with Takin' Off (1962) — Hancock's debut as a leader — and continuing on Empyrean Isles (1964) and Maiden Voyage (1