Bobby Hutcherson’s version of the oceanic classic ‘Maiden Voyage’ shore is beautiful, but for me the original is unassailable. Concept albums are generally associated with rock music, but Herbie Hancock was one step ahead of The Beatles. Empyrean Isles (1964) is loosely based around Ancient Greek mythology, and Maiden Voyage (1965) is an album about the sea. Bookended by pieces that would become standards, ‘Maiden Voyage’ and ‘Dolphin Dance’, the record even features sea-based poetry as its sleeve notes. You might call them liner notes.
The title track immediately establishes this theme, the lilting horns providing a bright seafaring quality while the rhythm section repeats its syncopated pattern that evokes gently lapping waves. The solos are immaculate; George Coleman soars on sax, Freddie Hubbard floats on trumpet, and Hancock ripples on piano. It ends with what Bob Blumenthal calls “the ebb-and-flow washes of Tony Williams’ drums” (just 20 at the time, back when he was still Anthony Williams) and Hubbard’s fluttering trills, like a seabird drifting overhead.
Apparently Herbie considers this his favourite composition, and it’s easy to see why. Sound recordist Rudy Van Gelder captures the voyage with Blue Note’s signature clarity, producing one of the finest recordings in the label’s deep blue history.
For more fantastic music from Hancock, take the plunge and dive into our ‘Kings Of The Keys’ playlist on Spotify, or if you prefer your music on the rocks, kick back with our ‘Yacht Rockin’ And City Poppin” playlist!
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