Is it possible for an artist to drastically alter his style on many occasions but still remain popular? Enter Herbie Hancock, who after first coming to prominence as a jazz pianist in the early 60s, continued to push forward — both technically and stylistically — throughout the 21st century. During his stint in the Miles Davis Quintet, Hancock raised the standard for jazz pianists and helped introduce the clavinet and Fender Rhodes piano to jazz. His portfolio includes Headhunters, jazz’s first platinum-selling album, and seven Grammy Awards.

Hancock has two upcoming shows as part of a residency at the Chicago Symphony Center: April 9, with his quartet and Wayne Shorter; and April 16, with Dave Holland and Jack DeJohnette. PLAY spoke with Hancock about issues both musical and spiritual — and where the two intersect.

PLAY: Just like your song, “Chameleon,” you’ve been a musical chameleon of sorts — from bop to funk to electronic to hip-hop. What inspires you?

Herbie Hancock: I’ve always been very open and curious, and that’s led to interest in new combinations of things — like what would happen if you put this with that, or that person with this person. It’s almost like a chemist, being interested in the potential for exciting results from collaborations.

PLAY: How has Buddhism affected your musical journey?

HH: Buddhism has helped me to think outside the box and to get a deeper understanding of the relationship between myself as a human being and myself as a musician. Being a musician is not what I am, it’s what I do. I’m not a musician 24 hours a day, because I am also a son, father, husband, friend, and citizen.

PLAY: And your understanding?

HH: Buddhism has also helped me to more clearly understand the role of music and art, which is to serve the universe by serving humankind and the environment in which we live. The more I practice Buddhism, the more I’m inspired by life, and that reflects itself in the music.

PLAY: Can you describe your relationship with jazz?

HH: Jazz is the primary music that moves my soul. It grew out of some of the most extreme examples of human suffering but reflects a positive response and shows how the human being is able to take the worst of things and create the best. Even though it came from the black experience, it’s not a reflection that’s limited to it. It’s an expression of humanity.

PLAY: Both you and Jack DeJohnette are originally from Chicago. What are your feelings on the city?

HH: When I was living there, I didn’t realize how beautiful it was. I guess I wasn’t living in a beautiful neighborhood (the South Side). I just hate the weather. I hope Chicago still nurtures new talent and ideas. With jazz, it’s a great place to develop, where musicians can band together and share ideas.

PLAY: You’ve expressed concern that jazz is at a point where it is endangered, mainly due to lack of major record label representation and the consolidated control of the radio. Do you see possible solutions to save jazz?

HH: There’s a lot of hope from the technical standpoint — the possibility of artists being able to sell a product directly to the public and bypass the traditional business model. The internet is a major hope. I’m hoping a model will develop that’s more about expansion, rather than contraction.

PLAY: The emerging popularity of artists like Norah Jones has led to a debate about whether their music is jazz. This highlights a blurring of genres. Is this dangerous for jazz?

HH: I think this is helping jazz. Wayne Shorter describes jazz as having “no categories.” I think that’s the spirit of jazz — having the freedom to have an infinite number of choices.. When you try to restrict jazz and funnel it through limiting viewpoints by people who feel that they are qualified to define it, that goes completely against the spirit of jazz. If anything, that describes “not-jazz.”

PLAY: If that had been the case, bebop would never have evolved from swing, and we wouldn’t have the work of so many brilliant musicians.

HH: Exactly. Jazz continually evolves in many different ways. Some aspects of it are fragmented today, but to me that’s OK; it’s just a new way of looking at things.

PLAY: What direction do you see your music headed? Or would you say that the changes you make are completely spontaneous?

HH: I go according to my gut feelings, which are often affected by reality. Sometimes I’ll get an urge to do something that is cutting edge, but might not draw a large fan base. Yet it might be something I feel is really important for my evolution as someone who creates music.