Customer Reviews

Speak Like a Child

5 star:		(11)
4 star:		(6)
3 star:		(4)
2 star:		(1)
1 star:		(0)

 

 

"Speak Like A Child" occupies a special place in Herbie Hancock's back catalog. A fine mix of deft writing and involved group interplay, it is also among the singular examples of small group arrangement in modern jazz. Here, Hancock's complex, powerful charts interpose some of the most remarkable trio work in the pianist's career. Bassist Ron Carter and drummer Mickey Roker provide a supple, viscous rhythmic backdrop for the pianist's lead lines, while the formidable triptych of fluegelhornist Thad Jones, bass trombonist Peter Phillips, and alto flutist Jerry Dodgion juggle Hancock's tricky melodic material with wit and gusto. Practically all of the solo space belongs to the leader, whose playing here is as eloquent as anywhere else on record; in this unique context, Hancock's improvisations sound liberated, epic. It does not hurt that this album contains perhaps the most fascinating program of compositions on any of the pianist's Blue Note albums. Included are the vigorous, tempestuous "Riot," as well as "The Sorcerer"--two tunes also played by the 60's-era Miles Davis Quintet. "Toys" and "Goodbye to Childhood" are less deliberate, the latter a somber, dirge-like production rearranged to great effect on the included alternate take. Special recognition goes to Ron Carter, whose giddy, up-tempo romp "First Trip" provides some interesting trio dialogue (the only true "trio" track on the disc), as well as to Herbie's composition "Speak Like A Child." A moving, emotionally wrenching tour-de-force, "Speak Like A Child" epitomizes the atmosphere of the album: multifaceted, introspective, and drowning in pathos. For all its virtuosity, the album is truly remarkable for its sheer, ephemeral beauty--a composition in and of itself.

The Rudy Van Gelder Edition vastly improves the sound balance of the original CD reissue, although the bottom end does seem a little too weighty at times. Regardless, it's nice to actually hear Ron Carter again--his articulation, touch, and sense of harmony are positively outstanding. Also benefiting from the improved sound is Roker, a remarkably tasty drummer, if less combustible than many of his peers in the late-60's. The bonus takes are nothing new to owners of the Hancock Blue Note boxed set, but they're well worth it--for "Goodbye to Childhood" alone.

With two reviews on this page only awarding four stars to this exceptional recording, I'll take my cue to argue why "Speak Like a Child" deserves no less than five. What makes the title track so intriguing, in addition to the Gil Evans-inspired voicings, is the melody itself: it's more hinted at as opposed to being clearly stated, bringing the impressionism of Debussy and Ravel to mind. The crown jewel for this reviewer, though, is Ron Carter's "First Trip." Hancock's solo is a perfect fusion of bebop, funk and the blues. The lines are intricate, chromatic, and infectious, while the motivic development here is particularly marvelous, perhaps Herbie's best on record. This disc is an absolute essential for students of jazz piano in particular.

"Speak Like a Child" is a Herbie Hancock release that was out of print for many years before it was rescued by Rudy Van Gelder, who remastered and reissued it in 2005. It's the followup to his classic "Maiden Voyage" and was recorded in two sessions: March 6 and March 9 in 1968. Hancock is well-supported by a talented team, with bass player Ron Carter and drummer Mickey Roker making particularly notable impressions on "Toys" and "Riot." If the latter track sounds familiar, it's because it was also recorded by Miles Davis (you can check out his own version on his 1967 album "Nefertiti," and another track, "Sorcerer" was also recorded by Miles). In addition, a three-member horn section highlights the smooth and gentle title cut, and there's some dynamic interplay between Hancock, Roker, and Carter on the breezy "First Trip." A laid-back vibe, touches of understated elegance, and a distinct air of cool makes "Speak Like a Child" such a worthy entry in Hancock's catalogue. If you missed this album the first time around, here's your second chance to experience it, in all its remastered glory.

Hancock's Blue Note releases "Maiden Voyage" and Empyrean Isles" rightfully have received more critical attention and acclaim than "Speak Like a Child." Still, he deserves credit with this recording for changing up his approach, broadening the sound and weaving more colors into the tapestry.

Where "Maiden Voyage" and "Empyrean Isles" provided major forums for the horn players -- Freddie Hubbard on both and George Coleman on "Isles" -- Hancock uses Thad Jones, Jerry Dodgion and Peter Phillips exclusively to add depth to the band's sound on "Child." This approach succeeds nicely for the most part, particularly on "Riot," which Hancock had contributed while with Miles Davis. Herbie also takes fleet, satisfying solos on "Toys" and "First Trip," a Ron Carter composition.

My only complaint is that on occasion the arrangements become a bit too pretty for my taste and the solos drift a bit, losing their edge. It's nowhere Muzak, but on the title cut, for example, and sections of "Goodbye to Childhood," the sound is a bit tepid, with blurred horn lines and not particularly inspired (for Hancock) piano.

If you're building a Hancock discography that includes his jazz material (pre-"Headhunters," in other words), this is a good addition, but it's not quite must-have.

This is one of the best jazz albums of all time, and one of the most beautiful. The expanded group is used for lovely shadings and colors, and the compositions and playing are all just first rate. Special, and belongs in every collection.

Herbie Hancock is almost always good, and almost always unpredictable. After the straight and funky Cantaloupe Island this album leans toward a more ethereal feel, creating jazz soundscapes and demonstrating what can be done with fine jazz orchestrating. On this CD, Herbie Hancock is on par with Gil Evans regarding harmonies, but definitely plays the piano more skilfully!

I was initially pulled in by the album cover, which jumped out at me as a vivid example of what the music might try to create. Love. Herbie's theme is explained in the liner notes and the music lived up to that mantra and the album's title fully. The lineup also jumped out at me. Having three wind instruments in the ensemble coupled with Herbie's virtuosity and the mighty Ron Carter got me wondering. I must admit, I was only partially familiar with Mickey Roker, but he impresses as well. The overall sound reminds me greatly of the dissonant Gil Evans sound prevalent on Miles Davis's collabos with him. Needless to say I love that flavor, which is why this album is such a treat. Clearly the type of recording interesting enough to make someone ask you "who is that??" Great album!

As with most great artists during great creative cycles, each Blue Note Herbie Hancock album is an experiment in style.

Speak Like A Child mines a dark, orchtrial lyricsism. Hancock uses lots of horns on this album, but the horns go IN to the music, not shout it out. The game here is to listen, intently, again and again. Pentetrate those thick clouds created by the band, until you see the musical ground.

If you hear Herbie's 1960s solo work from Takin' Off, 1962 through The Prisoner, 1969, the instrumentation grows increasingly layered and complex. Speak Like A Child is near the end of the line, 1968, and so this is among the most sopihiticated of the Blue Note albums.

And look at the track titles: "First Trip," "Riot," yep, it was 1968 alright.

I don't know where to begin with word descriptions for this performance. I don't have words other than to say that everything about this performance is "right". So good and so right, it's like magic. Also, this is a generous helping of great music. Not the usual one or two good songs.

I bought this for a friend and he was very happy, said it is just what he wanted.