Customer Reviews

Maiden Voyage

5 star:		(31)
4 star:		(6)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This collection with Herbie Hancock fronting a group consisting of the rhythm section of Miles Davis' second quintet; the always amazing Tony Williams and Ron Carter; is an absolute classic from the period. Freddie Hubbard is at times astonishing in his soloing. George Coleman who also did a brief stint with Davis rounds out the group on tenor. While not one of my favorite tenor players overall he does some of his best recorded work on this. Hancock established himself as a composer of jazz standards with Maiden Voyage. His playing on this is comparable to another classic of the period Miles Smiles. Maiden Voyage ,Miles Smiles and Wayne Shorter's Speak No Evil are the epitome of where modal jazz was headed in the 60's under the influence of Miles Davis. These fabulous musicians were making history again and again.

The players on Maiden Voyage are essentially those of the Miles Davis band - but how different from Miles' records it sounds and feels! In 1965, Herbie Hancock's leadership and vision were rapidly taking shape.

This album placed Hancock firmly in the company of the great jazz musicians. He had proved his mettle as an innovative and individual pianist on such excellent records as Wayne Shorter's Speak No Evil (Blue Note, 1964) and Miles' E.S.P. (Columbia, 1965), both recorded only months before. Now he led a group he knew intimately, and wrote enduring pieces for the date that were to become admired for decades to come.

The title track sets the tone for the whole record: subtle, measured, contemplative. It's the first solo opportunity for the perpetually underrated George Coleman, who displays virtuosity without arrogance, elegance without contrivance, depth of feeling without sentimentality.

Impeccably orchestrated pieces like "Little One" and the closing "Dolphin Dance" establish Herbie Hancock as the complete musician: inimitable pianist, creative composer, charismatic leader, supreme stylist.

This is probably the best album Hancock released during his years with Blue Note Records. Hancock had been playing with Miles Davis' Group at the time and the influence comes through on this album with Hancock being more experimental than before. While this did not contain any hit tracks such as "Cantaloupe Island" or "Watermelon Man" it is a classic album that captures Hancock at his finest as a leader, soloist and composer. One of Hancock's finest recordings. rated 5 stars by the All music guide to jazz. also awarded the symbol of merit by the Penguin Guide to jazz. This is essential in every jazz collection, inventive and challenging enough for the long time jazz collector but light and enjoyable for a new fan.

I was listening to this disc just a moment ago and I decided to make justice for it and decided to review it. This is what I've got to say.

FIRST THINGS FIRST

About The Rudy Van Gelder Edition
(In these RVG edition CDs all transfers from analog to digital are made at 24-bit resolution). The remastering done by Rudy Van Gelder is excellent! The sound Gelder gives the recording - which he originally engineered - a more life like balanced sound that is more pleasing to the ears. The listener is able to hear nuances of the instruments (f.ex. fingers on trumpet valves very clearly). Sometimes the remastering makes you believe that the recording session was held only recently.
By comparison most of the mid 80's Blue Note releases - that have been precursors to RVG editions - are muddy and have little bass definition and an inappropriate amount of treble.

About the packaging
I find it very nice! RVG edition CDs contain the original liner notes and also liner essay ("a new look at" as it is called) from critic Bob Blumenthal, that provides interesting historical insight that may - or may not - reveal new information to the seasoned jazz fan, but definitely could be helpful to new listeners discovering the legacy of Blue Note through these deluxe RVG editions. Also some session photos by Francis Wolff that fold out to full view in the booklet are very nice, some of them are well known and some are published for the first time.

About the music
To put its simply - it is beautiful. Other adjectives that I would use to appraise this disc: reserved, complex, elegant, sophisticated, cerebral, refined/mannered...
It is modal jazz that has some post-bop influences. Maiden Voyage is less overtly adventurous than its predecessor, Empyrean Isles, but it is nevertheless full of creativity of these musicians, notably Herbie Hancock who is at the peak of his entire career. It could easily be the finest recording of the '60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop.
Each member is on top of his game for this session, and the result is a very enjoyable recording. Rhythm section is exceptional; Ron Carter on bass and Tony Williams on drums. Carter and Williams ceate an ideal backround (along with Herbie) where Coleman and Hubbard can do their soloing. Freddie Hubbard plays trumpet with nice phrasing but George Coleman won't stay far behind him as he shines with some of the best saxophone playing ever.
The quintet plays five Hancock originals. They are all simply superb showcases for the group's provocative, unpredictable solos, tonal textures, and harmonies. The quintet does take risks, but the music is lovely and accessible, thanks to Hancock's understated, melodic compositions and the tasteful group interplay. All the elemenst blend together and make Maiden Voyage a shimmering, beautiful album that captures Hancock at his finest as a leader, soloist and composer.
This is an excellent recording, which I unhesitatingly recommend as a great addition to any serious jazz library, and possibly as good a way as any to have Hancock represented as the essential musician he is. This is an excellent CD to begin exploring jazz - it is an ideal introduction for newcomers but also a must have for veterans.
It will immediately let you know that you're listening to a classic and with every listen it gets better.

When I listen to this CD I feel like I'm in one of those tropical isles surrounded by blue-green sea. Sun shines and the sand on the beach just shines pure white. Sky is blue and a few white clouds are scattered here and there. I walk in to the sea and dive to the direction of the bottom of the sea. I see many different coloured fish species swimming around me. A green turtle flows over my head. So much life... But suddenly it all disappears. I see couple of sharks swimming and passing by. And it all just calms down. Life returns. Turtles, fishes, octopussies... Everything shines and colours are bright and warm. It is so beautiful...And when the music begins to fade away I rise from the sea, get back to the beach and just watch as it all gets wrapped around the calmenss of nigth... Beautiful.

This is Essential jazz. Essential Hancock and essential modal jazz. It definitely deserves a five star rating. I have had this CD for a long time. I keep enjoying it time after time. You will do yourself a big favor if you buy this. If you don't believe me, just read what other reviewers have to say.

I don't think I could name a more perfect album than this one, if I tried! That's just how amazing Herbie Hancock's best-known acoustic work is, especially due to the amazing personnel of Freddie Hubbard on trumpet, the terribly underrated George Coleman on tenor sax, and the magnificent rythymn team of Ron Carter and Tony Williams, who, along with Herbie, make up the impeccable rhytymn section of Miles's second great quintet. The underwater/out to sea theme of the album is kept throughout, which I'd say is mainly due to Tony Williams's awesome wash and ebb effect he gets through his cymbals for the duration of the album. Of all the tunes, I can't pick a favorite, since it is all five of these amazing Hancock compositions that make this album spectacular. I think that this cd shows both Hubbard and Hancock at the top of their game, and that's saying a lot since I own a lot of magnificent gems that feature these two giants. This is definitely one of the most essential jazz albums ever, so if you don't already own this, do yourself a favor and order it right now!

Hancock took time off from Miles Davis' great mid-60's quintet to produce this timeless masterpiece, still sounding every bit as fresh as in 1965. While Miles and Coltrane at the time were exploring new levels of intensity, Hancock slowed things considerably down, at times being so cool it almost hurts. The sea-imagery is very evocative, with Tony Williams' shimmering cymbals providing an ocean of their own. George Coleman never really hit it off with Miles, but his gently lyrical playing works fine here as does Freddie Hubbard's more virile approach. I have not heard this remastered edition, but even the original cd-version sounded great.

Herbie Hancock's Maiden Voyage remains a classic in the jazz genre. At the time of its release, he was also playing with the Miles Davis Quintet and the maturity he gained in working with them is in full evidence here. Its legend is such that two tracks, the title song and "Dolphin Dance", still receive generous airplay on jazz radio. The album begins with the aforementioned title track, one of the best and most recognizable songs in the genre. Hancock's simple yet melodic piano line provides the mood for excellent solos from both trumpeter Freddie Hubbard and saxophonist George Coleman. Despite its mellow theme, drummer Tony Williams, then only 19, is creative throughout, sometimes throwing in loud quick fills, while other times playing very understated. Yet, it's still Herbie's show here as his solo is truly a thing of beauty. "The Eye Of The Hurricane" is a great hard bop tune featuring very busy playing from bassist Ron Carter and stellar interplay between Herbie and both Coleman and Hubbard. "Little One" is a very somber piece that features a cool solo from Carter along with Herbie's quiet and reserved playing. The band's performance of this track, which Herbie would also record that year with Miles on the E.S.P. album, matches its solemn mood perfectly. "Survival Of The Fittest" is most dramatic song here as it moves from hard bop in its first half to a showcase for Herbie's lightning fast runs, while also spotlighting Tony Williams, who has no less than three solos in the track alone. Finally, "Dolphin Dance" is a mellow ballad, featuring a memorable horn line as well as great solos from both Hubbard and Coleman. A classic in the genre and arguably his best album, Maiden Voyage established Herbie Hancock as one of the premier composers in jazz. Highly recommended.

Herbie Hancock reaffirmed his importance in modern Jazz history with this stunning album. Hancock always is a pioneer of Jazz music, and this album takes him to another level of Piano brilliance. Using outstanding musicians as backup compliments this album. With Trumpeter Freddie Hubbard and Saxophonist George Colman, Hancock explores each and every song on here with different rythmic spacing, and musical influences from Miles Davis, Ornette Coleman and even Art Blakey. Hancock isn't afraid to go for a new sound and we are all gratefull to this Jazz pioneer. From "Maiden Voyage" to "Dolphin Dance" each and every song on this album (CD) is a delight to listen too. Blue Note recordings did an excellent job of letting Hancock explore and the Jazz world is gratefull for it. Highly recommended!

First of all, be aware that this Herbie solo record features none other than his Miles Davis quintet bandmates on bass and drums - Ron Carter and Tony Williams respectively. Anyone who loves the second great Miles quintet and their most prized recordings (MILES SMILES, E.S.P., SORCERER, and NEFERTITI,) should also appreciate MAIDEN VOYAGE. Filling the soloist voids here are the prolific trumpet player, Freddie Hubbard, and George Coleman on tenor sax, the latter being an early favorite of Miles Davis during his years on Prestige.

Fans of Miles will immediately recognize the track 'Little One' which also appears on Miles's E.S.P. album. This, like all the tracks on MAIDEN VOYAGE, are Herbie Hancock originals. Hancock is obviously calling the shots in this group, and his playing is downright scary at times. Mr. Hancock sounds like he is controlling the tempo, almost like Thelonius Monk, while at other moments, he sounds closer to a nice mix between Bill Evans and McCoy Tyner.

The title track on this album would almost immediately become a major standard of the time, along with the less popular 'Eye of the Hurricane' and 'Survival of the Fittest' which I look at as being the most intense moments of this record. On 'Eye of the Hurricane' Hancock is perfect at using his left and right hands to keep a hard swinging rhythm in tow, while presenting some of his most crisp and clear soloing as well. This rhythm section will never cease to amaze me, and because of this, one of my planned future endeavors is to explore the entire Tony Williams catalogue. He was only in his early 20's at the time of this recording and he is possibly the most grossly overlooked drummer of his time.

'Survival of the Fittest' is the most progressive and experimental track, with the song divided up into what I see as distinct blocks. The songs begins with an almost free-jazz feel, and Hancock even begins to sound like Cecil Taylor. Just seconds later, the quintet builds a groove and then Ron Carter follows suit. Carter helps keep the flow going through most of the song while the other guys appear to be improvising 90% of the time, with some hard swinging solos from George Coleman as well. Finishing up is the track 'Dolphin Dance' which is similar to 'Little One' - both are much slower paced, but lyrically, I'd say it is Freddie Hubbard's high point. Hubbard obviously cannot replace Miles Davis, but who can? I've heard too many jazz purists toss aside MAIDEN VOYAGE because they didn't like Hubbard.

Herbie Hancock released several amazing records on Blue Note during the 1960's, including MAIDEN VOAYGE, TAKIN' OFF, SPEAK LIKE A CHILD, and EMPYREAN ISLES. Most casual jazz fans are more familiar with his later electric and funk work like HEADHUNTERS and THRUST, but I urge you to give his acoustic work a fair listen. MAIDEN VOYAGE is a great place to start, and should be welcomed with open arms by fans of mid-60's Miles Davis.

Pianist Herbie Hancock took the sea as a theme, composed five outstanding pieces, invited an all-star cast of musicians to join him, and created a masterpiece. Each of the compositions, the lilting "Maiden Voyage," the turbulent "Eye of the Hurricane," the moody "Little One," the complex "Survival of the Fittest," and the lovely "Dophin Dance," can either stand alone or fit perfectly together as a suite. Herbie Hancock is quite simply one of the best pianist of all time. Every solo I have ever heard him play is logically, meticulously constructed, but played with passion. George Coleman is an underrated tenor saxophonist who amply displays his talent here. Trumpeter Freddie Hubbard plays with his usual fire and clarity. Rhythm sections don't get any better than Ron Carter and Tony Williams. When this music was first released on LP it proved to be very popular. I believe it still is. It deserves to be!