Celebrating Herbie Hancock in advance of his 84th birthday tomorrow. —Ed.
The short description of Herbie Hancock’s gorgeous 1965 LP Maiden Voyage, is that it’s the ’63-’64 Miles Davis Quintet with Freddie Hubbard subbing on trumpet. But as nicely as that reads, it’s actually much more. Hancock’s fifth and best record as leader, to this point it was also his most ambitious, and was additionally something of a rarity in jazz terms; a wildly successful and delightfully peaceful concept album.
Herbie Hancock has had a long and illustrious career, and in tandem with his contribution to the groups of Miles Davis, Maiden Voyage is probably his finest moment. As a look at the personnel relates, the disc is closely tied to Miles’ ‘60’s work, but as a standalone document Hancock’s masterful session equals anything Davis produced in the decade with the exception of the live material from the Plugged Nickel.
Some will disagree and a few will downright scoff at the notion of Maiden Voyage being rated so highly, in part because of its lack of edginess and decidedly refined sensibility. This circumstance extends to the considerable influence Hancock’s record wielded upon subsequent endeavors in the jazz and rock fields, byproducts that span in quality from mediocre to flat-out awful.
But that’s okay. What Maiden Voyage lacks in bluesy grit or fiery abstraction is greatly made up for by boldness of aspiration and a beautifully sustained mood, and as the title track and “Dolphin Dance” have both become late-period jazz standards, a certain percentage of underwhelming interpretations is basically inevitable.