Maiden Voyage [Remaster]

Performer: Herbie Hancock
Artist: George Coleman; Freddie Hubbard; Ron Carter; Tony Williams
Engineer: Rudy Van Gelder
Producer: Alfred Lion
Distributor: EMI Music Distribution

Notes: The Rudy Van Gelder Edition of MAIDEN VOYAGE includes an essay by Bob Blumenthal. Personnel: Herbie Hancock (piano); George Coleman (tenor saxophone); Freddie Hubbard (trumpet); Ron Carter (bass); Tony Williams (drums). Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey on May 17, 1965. Originally released on Blue Note (BLP 4195). Includes liner notes by Herbie Hancock and Nora Kelly. Digitally remastered by Rudy Van Gelder. This is part of the Blue Note Rudy Van Gelder Editions series. Personnel: Herbie Hancock (piano); Herbie Hancock; Ron Carter (bass instrument); Anthony Williams (drums); George Coleman (tenor saxophone); Freddie Hubbard (trumpet); Tony Williams (drums). Recording information: New York, NY (03/17/1965). Photographer: Reid Miles. Probably the best in Herbie Hancock's series of fine Blue Note albums from the 60s, Maiden Voyage finds him in what is basically the Miles Davis band of the time, with Miles replaced by the young Freddie Hubbard. Hancock has always been a fine composer, but Maiden Voyage contains two classic compositions in particular - the beautiful `Dolphin Dance', and the atmospheric and popular title track. Saxophonist George Coleman, bassist Ron Carter and drummer Tony Williams play as well throughout as they have ever played, and the whole record is marked with a timeless freshness and sense of creative tension.

Q (6/95, p.138) - 4 Stars - Excellent - "...this 1965 date is arguably Hancock's finest half-hour of his long career. His compositional strength has never been bettered (four out of five tracks have become classics) and his piano playing is a model of the lucid, cerebral style that continues to act as a role model to young aspirants..."

One of the most open-eared and forward-thinking jazz musicians of his day, Hancock has, more than just about anyone else, consistently tried to broaden the music's horizons by mixing it with the most interesting elements of contemporary pop. Hancock has consistently pushed the envelope, from his earliest days with Miles Davis to his jazz-rock fusion of the early '70s and his early embrace of synthesizers and electronic instruments, his early-'80s experiments with hip-hop and sampling, or more recently, his acoustic piano reinterpretations of songs--the new standards, in his parlance--by everyone from Don Henley to Nirvana.

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