Volume 54 "maiden Voyage" Guitar Voicings

Several years before Steve Harris formed what would become (arguably) the biggest heavy metal band of all time, four young Basildon rockers going under the dubious moniker of ‘Bum’ decided they had to change their name. Innocent as it may seem today, the name Bum was causing them a lot of problems, with many promoters and clubs refusing to book them as it was seen to be "offensive". Having witnessed Cream perform live in their school hall in 1966, they were inspired enough to get working on a band of their own. They paid their dues initially as Stevenson’s Blues Department, playing regularly as main support to Fleetwood Mac and Jethro Tull amongst others…

This is the Swedish duo Christian Riveli (vocals) and Linus Käse (keyboards), added with band members on vocals, solo - and rhythm guitar, bass and drums and guest-musicians on violin, acoustic guitar, background vocals and electric guitar (Kerry Livgren from Kansas on the track "Ground Zero"). The six compositions (between 6 and 10 minutes) contain lots of flowing shifting moods and strong soli on guitar, keyboards and violin. All tracks are quite complex and very rich orchestrated, very good musicianshiip on every second of this album. "Mayden Voyage" is a solid album in symphonic prog scene.

Less overtly adventurous than its predecessor, Empyrean Isles, Maiden Voyage nevertheless finds Herbie Hancock at a creative peak. In fact, it's arguably his finest record of the '60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop. By this point, the pianist had been with Miles Davis for two years, and it's clear that Miles' subdued yet challenging modal experiments had been fully integrated by Hancock. Not only that, but through Davis, Hancock became part of the exceptional rhythm section of bassist Ron Carter and drummer Tony Williams, who are both featured on Maiden Voyage, along with trumpeter Freddie Hubbard and tenor saxophonist George Coleman. The quintet plays a selection of five Hancock originals, many of which are simply superb showcases for the group's provocative, unpredictable solos, tonal textures, and harmonies.

Nnenna Freelon's fifth CD should establish her as one of the top jazz singers of the 1990s. Rather than stick to typical jazz standards, she explore women's songs (or at least lyrics) from many fields of music. Her compelling interpretation of the title track, with its infrequently heard lyric by Mrs. Herbie Hancock, is followed by a hypnotic original lyric written by Freelon for Marian McPartland's "Threnody," titled "Sepia Wing" in its vocal incarnation. One of the more unusual songs selected is folk singer Buffy Saint-Marie's "Until It's Time for You to Go"; Freelon drastically rearranged this tune by changing the melody line and adding an uptempo vamp, and Bob Mintzer's soprano sax accents are also a nice touch.

Herbie Hancock - Maiden Voyage (1965) {Blue Note Japan TOCJ-4195 rel 1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 225 Mb | MP3 @320 -> 101 Mb
Full Artwork @ 600 dpi (png) -> 111 Mb | 5% repair rar
© 1965, 1995 Blue Note / Toshiba-EMI Japan | TOCJ-4195
Jazz / Hard Bop / Modal Jazz / Piano

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.

Less overtly adventurous than its predecessor, Empyrean Isles, Maiden Voyage nevertheless finds Herbie Hancock at a creative peak. In fact, it's arguably his finest record of the '60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop. By this point, the pianist had been with Miles Davis for two years, and it's clear that Miles' subdued yet challenging modal experiments had been fully integrated by Hancock. Not only that, but through Davis, Hancock became part of the exceptional rhythm section of bassist Ron Carter and drummer Tony Williams, who are both featured on Maiden Voyage, along with trumpeter Freddie Hubbard and tenor saxophonist George Coleman. The quintet plays a selection of five Hancock originals, many of which are simply superb showcases for the group's provocative, unpredictable solos, tonal textures, and harmonies…

This lesser-known set, released by several Japanese labels including a 1991 CD issue by Denon, features flugelhornist Art Farmer with pianist Masahiko Satoh (doubling on electric piano), bassist Ron Carter, drummer Jack DeJohnette and a 14-piece string section arranged and conducted by Satoh. Despite its initial release in Japan, the music was actually recorded in New York City. Farmer is in excellent form on the seven modern jazz originals, most of which are given fresh treatments. The arrangements are fine, and Farmer is up to the task of carrying the main load on such songs as "Nica's Dream," "Blue In Green," "Maiden Voyage" and "Naima".