This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader", Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was a taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

this is a superb jazz album classic!!, 28 Aug 2008
im open to all music mainly eccept rap hip hop dance not my kind of thing each to there own!! but this is a classic jazz album its fab im not a massive jazz lover but love some jazz charles mingus,countbasie,frank sinatra,nat king cole,ray charles,duke ellington i like jazz thats simple not too all over the place eg john coultrane a love supreme its good in parts but goes off in places its awfull in parts i like this album more simple buy it!! classic!!

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was a taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

this is a superb jazz album classic!!, 28 Aug 2008
im open to all music mainly eccept rap hip hop dance not my kind of thing each to there own!! but this is a classic jazz album its fab im not a massive jazz lover but love some jazz charles mingus,countbasie,frank sinatra,nat king cole,ray charles,duke ellington i like jazz thats simple not too all over the place eg john coultrane a love supreme its good in parts but goes off in places its awfull in parts i like this album more simple buy it!! classic!!

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was a taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

this is a superb jazz album classic!!, 28 Aug 2008
im open to all music mainly eccept rap hip hop dance not my kind of thing each to there own!! but this is a classic jazz album its fab im not a massive jazz lover but love some jazz charles mingus,countbasie,frank sinatra,nat king cole,ray charles,duke ellington i like jazz thats simple not too all over the place eg john coultrane a love supreme its good in parts but goes off in places its awfull in parts i like this album more simple buy it!! classic!!

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Bob's NOT There, 20 Nov 2008
Whilst I have no argument with the music on this album, it's all great stuff, if you are hoping to hear the great man introducing each track, then think again "he's NOT there" and this is a great disappointment. I had expected from the album description that it would contain those wonderful insights that Bob Dylan is so good at when introducing the tracks, that's why I can only give it three stars.

Great, but a note of caution, 28 Oct 2008
Just a quick review here. Although the music on here is fantastic and as eclectic as you could hope for I was under the impression (maybe I missed something) that the tracks would include the introductions by the man himslef. However, the intros come in a separate booklet and are NOT on the CD. As I said, a great CD but just be warned that this is not the actual shows themselves. Cheers!

A wonderfully eclectic collection., 23 May 2008
Theme Time Radio Hour is one of the most original and enlightening music programmes on the air. It's brilliantly presented by Bob Dylan who plays an eclectic mix of often obscure records all linked by a theme. Dylan's knowledge of American popular music is immense and each programme is peppered with his unique combination of wit and wisdom. So, Ace Records are to be congratulated for issuing this double album containing 50 wonderful tracks of the kind of music to be heard on TTRH. The only thing missing is the man himself but that shouldn't deter anyone from acquiring this marvellous and wide-ranging selection of great music expertly compiled by Ace.

Is this the same man ?, 27 Mar 2008
The guy who in the 60s used to wind up the Press and tell anyone who asked that some song was about light bulbs or something seems to have suddenly acquired vast knowledge over the last 10 years at least.
Maybe he goes on Wikipedia a lot as some of the info he imparts is not exactly rooted in most peoples' brains.
Dylan though showed signs of what was to come in an album which was eternally slagged off-SELF PORTRAIT.
Remember that one-where he showed he was not averse to covering other peoples stuff.It suited me fine as I love cover versions.
Anyway Bob next time you do one of these can you include plenty of high school pop-you know Bobby Vee who once sacked you-and a few of the other Bobbies like the great Bobby Rydell.And not forgetting Fabian-time he had some credibilty.
Oh and Barry McGuire who sang the greatest anti War song of all-Eve of Destruction

WORTHY OF 6 STARS, 24 Mar 2008
Quite frankly, this is the best reissue of 2008, already. It shows that not only has Dylan been the cultural commentator of the world, but that he is also the cultural curator of some amazing music. It is almost as if this is the music that has even shaped his own recordings. It is not that far from Louis Jordan to "Open The Door, Homer" on the Basement Tapes, or the early blues on this album in relation to Love & Theft. But, isn't all pop/rock music Love & Theft ?

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was a taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

this is a superb jazz album classic!!, 28 Aug 2008
im open to all music mainly eccept rap hip hop dance not my kind of thing each to there own!! but this is a classic jazz album its fab im not a massive jazz lover but love some jazz charles mingus,countbasie,frank sinatra,nat king cole,ray charles,duke ellington i like jazz thats simple not too all over the place eg john coultrane a love supreme its good in parts but goes off in places its awfull in parts i like this album more simple buy it!! classic!!

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Bob's NOT There, 20 Nov 2008
Whilst I have no argument with the music on this album, it's all great stuff, if you are hoping to hear the great man introducing each track, then think again "he's NOT there" and this is a great disappointment. I had expected from the album description that it would contain those wonderful insights that Bob Dylan is so good at when introducing the tracks, that's why I can only give it three stars.

Great, but a note of caution, 28 Oct 2008
Just a quick review here. Although the music on here is fantastic and as eclectic as you could hope for I was under the impression (maybe I missed something) that the tracks would include the introductions by the man himslef. However, the intros come in a separate booklet and are NOT on the CD. As I said, a great CD but just be warned that this is not the actual shows themselves. Cheers!

A wonderfully eclectic collection., 23 May 2008
Theme Time Radio Hour is one of the most original and enlightening music programmes on the air. It's brilliantly presented by Bob Dylan who plays an eclectic mix of often obscure records all linked by a theme. Dylan's knowledge of American popular music is immense and each programme is peppered with his unique combination of wit and wisdom. So, Ace Records are to be congratulated for issuing this double album containing 50 wonderful tracks of the kind of music to be heard on TTRH. The only thing missing is the man himself but that shouldn't deter anyone from acquiring this marvellous and wide-ranging selection of great music expertly compiled by Ace.

Is this the same man ?, 27 Mar 2008
The guy who in the 60s used to wind up the Press and tell anyone who asked that some song was about light bulbs or something seems to have suddenly acquired vast knowledge over the last 10 years at least.
Maybe he goes on Wikipedia a lot as some of the info he imparts is not exactly rooted in most peoples' brains.
Dylan though showed signs of what was to come in an album which was eternally slagged off-SELF PORTRAIT.
Remember that one-where he showed he was not averse to covering other peoples stuff.It suited me fine as I love cover versions.
Anyway Bob next time you do one of these can you include plenty of high school pop-you know Bobby Vee who once sacked you-and a few of the other Bobbies like the great Bobby Rydell.And not forgetting Fabian-time he had some credibilty.
Oh and Barry McGuire who sang the greatest anti War song of all-Eve of Destruction

WORTHY OF 6 STARS, 24 Mar 2008
Quite frankly, this is the best reissue of 2008, already. It shows that not only has Dylan been the cultural commentator of the world, but that he is also the cultural curator of some amazing music. It is almost as if this is the music that has even shaped his own recordings. It is not that far from Louis Jordan to "Open The Door, Homer" on the Basement Tapes, or the early blues on this album in relation to Love & Theft. But, isn't all pop/rock music Love & Theft ?

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was a taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

this is a superb jazz album classic!!, 28 Aug 2008
im open to all music mainly eccept rap hip hop dance not my kind of thing each to there own!! but this is a classic jazz album its fab im not a massive jazz lover but love some jazz charles mingus,countbasie,frank sinatra,nat king cole,ray charles,duke ellington i like jazz thats simple not too all over the place eg john coultrane a love supreme its good in parts but goes off in places its awfull in parts i like this album more simple buy it!! classic!!

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Bob's NOT There, 20 Nov 2008
Whilst I have no argument with the music on this album, it's all great stuff, if you are hoping to hear the great man introducing each track, then think again "he's NOT there" and this is a great disappointment. I had expected from the album description that it would contain those wonderful insights that Bob Dylan is so good at when introducing the tracks, that's why I can only give it three stars.

Great, but a note of caution, 28 Oct 2008
Just a quick review here. Although the music on here is fantastic and as eclectic as you could hope for I was under the impression (maybe I missed something) that the tracks would include the introductions by the man himslef. However, the intros come in a separate booklet and are NOT on the CD. As I said, a great CD but just be warned that this is not the actual shows themselves. Cheers!

A wonderfully eclectic collection., 23 May 2008
Theme Time Radio Hour is one of the most original and enlightening music programmes on the air. It's brilliantly presented by Bob Dylan who plays an eclectic mix of often obscure records all linked by a theme. Dylan's knowledge of American popular music is immense and each programme is peppered with his unique combination of wit and wisdom. So, Ace Records are to be congratulated for issuing this double album containing 50 wonderful tracks of the kind of music to be heard on TTRH. The only thing missing is the man himself but that shouldn't deter anyone from acquiring this marvellous and wide-ranging selection of great music expertly compiled by Ace.

Is this the same man ?, 27 Mar 2008
The guy who in the 60s used to wind up the Press and tell anyone who asked that some song was about light bulbs or something seems to have suddenly acquired vast knowledge over the last 10 years at least.
Maybe he goes on Wikipedia a lot as some of the info he imparts is not exactly rooted in most peoples' brains.
Dylan though showed signs of what was to come in an album which was eternally slagged off-SELF PORTRAIT.
Remember that one-where he showed he was not averse to covering other peoples stuff.It suited me fine as I love cover versions.
Anyway Bob next time you do one of these can you include plenty of high school pop-you know Bobby Vee who once sacked you-and a few of the other Bobbies like the great Bobby Rydell.And not forgetting Fabian-time he had some credibilty.
Oh and Barry McGuire who sang the greatest anti War song of all-Eve of Destruction

WORTHY OF 6 STARS, 24 Mar 2008
Quite frankly, this is the best reissue of 2008, already. It shows that not only has Dylan been the cultural commentator of the world, but that he is also the cultural curator of some amazing music. It is almost as if this is the music that has even shaped his own recordings. It is not that far from Louis Jordan to "Open The Door, Homer" on the Basement Tapes, or the early blues on this album in relation to Love & Theft. But, isn't all pop/rock music Love & Theft ?

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

The return of Mr.Benson!, 18 Nov 2008
I once had Bensons'Greatest Hits and listened to the album over and over again..Then I gave it to a man I loved, cause he loved him aswell.
That love is gone now, but my love for Mr.Benson is as srong as ever.
This cd holds all the songs I've once had,eccept one(Living inside your love)That's fair enough.
Beautiful,don't hesitate to buy it if you want a complete album!
Miranda

Yet another 'best of' album..., 17 Feb 2006
There have been numerous 'Best Of George Benson' compilations over recent years, none of which have been all-inclusive (that is a probable marketing ploy). This re-packaged selection continues the trend; having said that, it does serve as a pleasing introduction to the superb fusion jazz/R&B/pop that Mr Benson serves up masterfully.

Beware, edited tracks, 27 Aug 2004
"The Greatest Love Of All", one of Benson's greatest performances, has an entire verse edited out on this CD, a shameful fact which degrades an otherwise attractive collection of songs, representing the best of George Benson. A fine artist, at his best when singing songs written by Micheal Masser I feel, "Nothing's Gonna Change My Love For You" "In Your Eyes" "You Are The Love Of My Life" "Greatest Love Of All" all of which are presented on this CD.

The Greatest Album of All, 27 Mar 2004
I am glad I bought this album. The songs are lively and lightened my spirits to hear. There are 20 songs, and the CD itself has a cover over it for protection. I love track 1) Give me the night, 5) Nothing's gonna change my love for you, and 11) You are the love of my life. My favourite since childhood is track 6) The greatest love of all, and since last year 10) In your eyes. All very lovely songs by a talented artist named George Benson, who has a good voice. Buy this cd if you like love songs or good pop and jazz music. It's an album that is definitely one of my favourites, and currently my most favourite.

Brilliant album from a brilliant artist., 28 Jul 2003
This album from start to finish is one of brilliance. Provides excellent background music for any occasion. But was there ever any doubt that this would be a great album when it's George Benson.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was a taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

this is a superb jazz album classic!!, 28 Aug 2008
im open to all music mainly eccept rap hip hop dance not my kind of thing each to there own!! but this is a classic jazz album its fab im not a massive jazz lover but love some jazz charles mingus,countbasie,frank sinatra,nat king cole,ray charles,duke ellington i like jazz thats simple not too all over the place eg john coultrane a love supreme its good in parts but goes off in places its awfull in parts i like this album more simple buy it!! classic!!

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Bob's NOT There, 20 Nov 2008
Whilst I have no argument with the music on this album, it's all great stuff, if you are hoping to hear the great man introducing each track, then think again "he's NOT there" and this is a great disappointment. I had expected from the album description that it would contain those wonderful insights that Bob Dylan is so good at when introducing the tracks, that's why I can only give it three stars.

Great, but a note of caution, 28 Oct 2008
Just a quick review here. Although the music on here is fantastic and as eclectic as you could hope for I was under the impression (maybe I missed something) that the tracks would include the introductions by the man himslef. However, the intros come in a separate booklet and are NOT on the CD. As I said, a great CD but just be warned that this is not the actual shows themselves. Cheers!

A wonderfully eclectic collection., 23 May 2008
Theme Time Radio Hour is one of the most original and enlightening music programmes on the air. It's brilliantly presented by Bob Dylan who plays an eclectic mix of often obscure records all linked by a theme. Dylan's knowledge of American popular music is immense and each programme is peppered with his unique combination of wit and wisdom. So, Ace Records are to be congratulated for issuing this double album containing 50 wonderful tracks of the kind of music to be heard on TTRH. The only thing missing is the man himself but that shouldn't deter anyone from acquiring this marvellous and wide-ranging selection of great music expertly compiled by Ace.

Is this the same man ?, 27 Mar 2008
The guy who in the 60s used to wind up the Press and tell anyone who asked that some song was about light bulbs or something seems to have suddenly acquired vast knowledge over the last 10 years at least.
Maybe he goes on Wikipedia a lot as some of the info he imparts is not exactly rooted in most peoples' brains.
Dylan though showed signs of what was to come in an album which was eternally slagged off-SELF PORTRAIT.
Remember that one-where he showed he was not averse to covering other peoples stuff.It suited me fine as I love cover versions.
Anyway Bob next time you do one of these can you include plenty of high school pop-you know Bobby Vee who once sacked you-and a few of the other Bobbies like the great Bobby Rydell.And not forgetting Fabian-time he had some credibilty.
Oh and Barry McGuire who sang the greatest anti War song of all-Eve of Destruction

WORTHY OF 6 STARS, 24 Mar 2008
Quite frankly, this is the best reissue of 2008, already. It shows that not only has Dylan been the cultural commentator of the world, but that he is also the cultural curator of some amazing music. It is almost as if this is the music that has even shaped his own recordings. It is not that far from Louis Jordan to "Open The Door, Homer" on the Basement Tapes, or the early blues on this album in relation to Love & Theft. But, isn't all pop/rock music Love & Theft ?

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

The return of Mr.Benson!, 18 Nov 2008
I once had Bensons'Greatest Hits and listened to the album over and over again..Then I gave it to a man I loved, cause he loved him aswell.
That love is gone now, but my love for Mr.Benson is as srong as ever.
This cd holds all the songs I've once had,eccept one(Living inside your love)That's fair enough.
Beautiful,don't hesitate to buy it if you want a complete album!
Miranda

Yet another 'best of' album..., 17 Feb 2006
There have been numerous 'Best Of George Benson' compilations over recent years, none of which have been all-inclusive (that is a probable marketing ploy). This re-packaged selection continues the trend; having said that, it does serve as a pleasing introduction to the superb fusion jazz/R&B/pop that Mr Benson serves up masterfully.

Beware, edited tracks, 27 Aug 2004
"The Greatest Love Of All", one of Benson's greatest performances, has an entire verse edited out on this CD, a shameful fact which degrades an otherwise attractive collection of songs, representing the best of George Benson. A fine artist, at his best when singing songs written by Micheal Masser I feel, "Nothing's Gonna Change My Love For You" "In Your Eyes" "You Are The Love Of My Life" "Greatest Love Of All" all of which are presented on this CD.

The Greatest Album of All, 27 Mar 2004
I am glad I bought this album. The songs are lively and lightened my spirits to hear. There are 20 songs, and the CD itself has a cover over it for protection. I love track 1) Give me the night, 5) Nothing's gonna change my love for you, and 11) You are the love of my life. My favourite since childhood is track 6) The greatest love of all, and since last year 10) In your eyes. All very lovely songs by a talented artist named George Benson, who has a good voice. Buy this cd if you like love songs or good pop and jazz music. It's an album that is definitely one of my favourites, and currently my most favourite.

Brilliant album from a brilliant artist., 28 Jul 2003
This album from start to finish is one of brilliance. Provides excellent background music for any occasion. But was there ever any doubt that this would be a great album when it's George Benson.

Mysterious and haunting, mesmersing and hypnotic - this is more than just music, 05 Oct 2006
Like the sea itself, Maiden Voyage is vast and epic- flirting with adventure and myth. It is Herbie Hancock's tour de force- what the wonderous Speak No Evil was to his Blue Note peer, Wayne Shorter- ie. representing the composer/pianist at his imaginitive peak. We can only imagine what kind of zone Freddie Hubbard, George Coleman, Ron Carter and Tony Williams must have been during the recording of this masterpiece- so wonderfully coherent yet brimming with subtle musical conflict. And Hancock's playing is simply majestic.

The opening track is stunningly simple- you might feel a little uninspired by the low-key opening, but then, all of a sudden, it all opens out beautifully during the trumpet solo. This short flourish embodies the enitre tone of the album and indeed the majesty of the ocean in its sense of wonder and awe.

After the fast-and-furious Eye of the Hurricaine, Hancock, with Little One, reminds us of his ability to produce deeply complex and challenging, yet incredibly beautiful compositions. It's probably my favourite track of the album.

Survival of the Fittest recalls The Egg, from Empyrean Isles(Blue Note, 1964) in its open improvisational structure. The sense of conflict and frantic struggle is briliantly portrayed, and the listener is unsure of whether the music is hideous, or beautiful.

To round off, Herbie returns to laid-back territory with Dolphin Dance- fresh enough to clear our musical palette after what has preceded.

While the briliant playing ability of this wonderful quintet is unquestionable, for me, it's Herbie's writing that makes album what it is. Maiden Voyage works as more of a "Love Supreme-esq" suite, rather than an album of five separate tracks. Not always easily listenable, always completley compelling, music is rarely this powerful.

La Mer, 29 May 2004
By now, Herbie Hancock was reaching a point were every convention, every facet of jazz he had experienced before was reaching near perfection in his compositions. He had already acheieved fame and lucratove offers from Blue Notes records, so finance was more or less assured. He was lucky. He had time to plan his works and choose the musicians he wanted. And Hancock was not a man to let such an opportunity just whizz by. This album proves that.
The sound and it's purpose is almost overpowering. It is a brilliant manifestation of the sea through sound. Particularly the opening and closing tracks capture the life of the sea and the sway and lull of the waves.
The playing on the musicians part is as always superb. Vocal resonance eminates from the saxophone and trumpet courtesy of Freddie Hubbard and George Coleman, bass strengthens the sound and gives it that woody, but flexible edge (Ron Carter). Tony Williams plays the drums as though they were an extention of his mind! The correctness of it all is overpowering. Herbie himself is genius at the keyboard. Particularly on Maiden Voyage, that piece which demands so much control and precision not only in tone, but dynamic and communication - it's handled brilliantly.
As I said earlier, Hancock had now reached a point where everything was just right. But, his mind would soon lean him in another, vastly more inventive direction. This album however, when compared also with the 60's standards 'Speak Like a Child' and 'My Point of View', is a more mature take on jazz. Jazz, which is flexible to every corner and desire the composer imposes - here it still feels at home. As at home as it feels on 'Headhunters', or the bouncy, brilliant tunes on 'Takin' Off'. Not only is that testament to jazz, but it is testament to Hancock's vision and technique in the studio.
This is simply a definitive jazz record, it is one of a kind and not only that - it sounds darn good for it.

Hancock's Finest Hour, 22 Feb 2004
As prolific an artist as Herbie Hancock has been over 40 years, this album endures as probably his best. He had made a startling contribution to 60s jazz already with the excellent debut album, 'Takin off' and the follow up, 'Empyrean Isles.' Although they contained more obvious 'hits in the form of 'Watermelon Man' and the wonderful 'Canteloupe Island,' this is his most consistent album.
Part of the lasting appeal of this record is its thematic approach, as all five tracks come across as part of the same whole, almost like a classical suite, with the ocean as its 'subject matter.' This was an unusual and bold step in the field of jazz but the music's descriptive nature is one of the reasons that people remember the whole record rather than just five individual tracks. It is a key part of the album's appeal, and most importantly, it works. The music is successfully subject driven rather than style orientated, and is both highly original and atmospheric throughout.
The obvious masterpiece of the album is the title track itself, a piece which slowly gets under your skin, and gets better with each listen. Hancock's steady repeated pattern gently grounds the whole piece, and Freddie Hubbard plays a superb solo alternating between calm tranquility, and majestic power.
The rest of the album ranges from the gently swinging 'Dolphin Dance,' the quiet beauty of the 'Little One' (also recorded by Miles Davis' quintet on ESP), to the menacing 'Eye of the Hurricane' and the thrill ride of 'Survival of the Fittest.' The whole band is brilliant, each following the leader's concept with music of lasting value. Freddie Hubbard not only confirms, but enhances his reputation as one of the most versatile and important soloists in jazz at the time, Joe Henderson is slightly less to the fore but is still excellent and the rhythm section are on the ball throughout.
One of the great 60s jazz albums and an essential part of anything like a jazz collection.

the voyage of discovery, 23 Nov 2003
This is probably the best jazz album of the 1960s by far in terms of a complete listening experience and a complete collaboration by all the musicians involved (I could have included Miles, Eric Dolphy or others but to me this is the crystal sound of a true artist at work). The title track has become a classic and out of very simple materials, the insight by Herbie being in the voicings of the chords rather than in any awesome display of skill. This is therefore a very harmonically based album but with some wonerful melodies (Dolphin Dance being a particular swinging, languid number). This is perhaps one of Jazz's first concept albums - a meditation on the power and poetic nature of the sea. The rhythm section is, as always considering that it is Miles' houseband, superb but George Coleman's sax given ample foil by Freddie Hubberds wonderfully agressive trumpet playing is absolutely riviting. Contemplative, lyrical, right on the button. Buy it if you are unlucky enough to have never heard it. If you have heard it buy this CD issue - the sound is superb.

Huge, elegant, poised, 02 Jun 2001
The players on Maiden Voyage are essentially those of the Miles Davis band - but how different from Miles' records it sounds and feels! In 1965, Herbie Hancock's leadership and vision were rapidly taking shape.

This album placed Hancock firmly in the company of the great jazz musicians. He had proved his mettle as an innovative and individual pianist on such excellent records as Wayne Shorter's Speak No Evil (Blue Note, 1964) and Miles' E.S.P. (Columbia, 1965), both recorded only months before. Now he led a group he knew intimately, and wrote enduring pieces for the date that were to become admired for decades to come.

The title track sets the tone for the whole record: subtle, measured, contemplative. It's the first solo opportunity for the perpetually underrated George Coleman, who displays virtuosity without arrogance, elegance without contrivance, depth of feeling without sentimentality.

Impeccably orchestrated pieces like "Little One" and the closing "Dolphin Dance" establish Herbie Hancock as the complete musician: inimitable pianist, creative composer, charismatic leader, supreme stylist.

This 1958 date finds Davis with alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Philly Joe Jones, bassist Paul Chambers and pianist Red Garland. It looks to the past with the bebop and blues of Jackie McLean's "Dr Jackle", John Lewis and Dizzy Gillespie's "Two Bass Hit" and Thelonious Monk's "Straight, No Chaser". The band points solidly to the future with the modal masterpiece "Milestones", which set the stage for the historic Kind of Blue. Davis's own tune, "Sid's Ahead", has a melodic line like Benny Golson's "Killer Joe"; "Billy Boy" features Garland, Chambers and Jones and is a stylistic shout to Ahmad Jamal. This superbly remastered edition also contains three alternate takes: "Two Bass Hit" snaps, crackles and pops with Jones's rope-a-dope rhythms and the title track rings with a more lyrical statement by Davis. On "Straight, No Chaser" Coltrane delivers a more harmonically daring solo, Adderley takes on Trane's supersonic scalar style and Chambers caps the cut with a grooving solo. This is a classic recording from a classic group. --Eugene Holley Jr

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was a taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

this is a superb jazz album classic!!, 28 Aug 2008
im open to all music mainly eccept rap hip hop dance not my kind of thing each to there own!! but this is a classic jazz album its fab im not a massive jazz lover but love some jazz charles mingus,countbasie,frank sinatra,nat king cole,ray charles,duke ellington i like jazz thats simple not too all over the place eg john coultrane a love supreme its good in parts but goes off in places its awfull in parts i like this album more simple buy it!! classic!!

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Bob's NOT There, 20 Nov 2008
Whilst I have no argument with the music on this album, it's all great stuff, if you are hoping to hear the great man introducing each track, then think again "he's NOT there" and this is a great disappointment. I had expected from the album description that it would contain those wonderful insights that Bob Dylan is so good at when introducing the tracks, that's why I can only give it three stars.

Great, but a note of caution, 28 Oct 2008
Just a quick review here. Although the music on here is fantastic and as eclectic as you could hope for I was under the impression (maybe I missed something) that the tracks would include the introductions by the man himslef. However, the intros come in a separate booklet and are NOT on the CD. As I said, a great CD but just be warned that this is not the actual shows themselves. Cheers!

A wonderfully eclectic collection., 23 May 2008
Theme Time Radio Hour is one of the most original and enlightening music programmes on the air. It's brilliantly presented by Bob Dylan who plays an eclectic mix of often obscure records all linked by a theme. Dylan's knowledge of American popular music is immense and each programme is peppered with his unique combination of wit and wisdom. So, Ace Records are to be congratulated for issuing this double album containing 50 wonderful tracks of the kind of music to be heard on TTRH. The only thing missing is the man himself but that shouldn't deter anyone from acquiring this marvellous and wide-ranging selection of great music expertly compiled by Ace.

Is this the same man ?, 27 Mar 2008
The guy who in the 60s used to wind up the Press and tell anyone who asked that some song was about light bulbs or something seems to have suddenly acquired vast knowledge over the last 10 years at least.
Maybe he goes on Wikipedia a lot as some of the info he imparts is not exactly rooted in most peoples' brains.
Dylan though showed signs of what was to come in an album which was eternally slagged off-SELF PORTRAIT.
Remember that one-where he showed he was not averse to covering other peoples stuff.It suited me fine as I love cover versions.
Anyway Bob next time you do one of these can you include plenty of high school pop-you know Bobby Vee who once sacked you-and a few of the other Bobbies like the great Bobby Rydell.And not forgetting Fabian-time he had some credibilty.
Oh and Barry McGuire who sang the greatest anti War song of all-Eve of Destruction

WORTHY OF 6 STARS, 24 Mar 2008
Quite frankly, this is the best reissue of 2008, already. It shows that not only has Dylan been the cultural commentator of the world, but that he is also the cultural curator of some amazing music. It is almost as if this is the music that has even shaped his own recordings. It is not that far from Louis Jordan to "Open The Door, Homer" on the Basement Tapes, or the early blues on this album in relation to Love & Theft. But, isn't all pop/rock music Love & Theft ?

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

The return of Mr.Benson!, 18 Nov 2008
I once had Bensons'Greatest Hits and listened to the album over and over again..Then I gave it to a man I loved, cause he loved him aswell.
That love is gone now, but my love for Mr.Benson is as srong as ever.
This cd holds all the songs I've once had,eccept one(Living inside your love)That's fair enough.
Beautiful,don't hesitate to buy it if you want a complete album!
Miranda

Yet another 'best of' album..., 17 Feb 2006
There have been numerous 'Best Of George Benson' compilations over recent years, none of which have been all-inclusive (that is a probable marketing ploy). This re-packaged selection continues the trend; having said that, it does serve as a pleasing introduction to the superb fusion jazz/R&B/pop that Mr Benson serves up masterfully.

Beware, edited tracks, 27 Aug 2004
"The Greatest Love Of All", one of Benson's greatest performances, has an entire verse edited out on this CD, a shameful fact which degrades an otherwise attractive collection of songs, representing the best of George Benson. A fine artist, at his best when singing songs written by Micheal Masser I feel, "Nothing's Gonna Change My Love For You" "In Your Eyes" "You Are The Love Of My Life" "Greatest Love Of All" all of which are presented on this CD.

The Greatest Album of All, 27 Mar 2004
I am glad I bought this album. The songs are lively and lightened my spirits to hear. There are 20 songs, and the CD itself has a cover over it for protection. I love track 1) Give me the night, 5) Nothing's gonna change my love for you, and 11) You are the love of my life. My favourite since childhood is track 6) The greatest love of all, and since last year 10) In your eyes. All very lovely songs by a talented artist named George Benson, who has a good voice. Buy this cd if you like love songs or good pop and jazz music. It's an album that is definitely one of my favourites, and currently my most favourite.

Brilliant album from a brilliant artist., 28 Jul 2003
This album from start to finish is one of brilliance. Provides excellent background music for any occasion. But was there ever any doubt that this would be a great album when it's George Benson.

Mysterious and haunting, mesmersing and hypnotic - this is more than just music, 05 Oct 2006
Like the sea itself, Maiden Voyage is vast and epic- flirting with adventure and myth. It is Herbie Hancock's tour de force- what the wonderous Speak No Evil was to his Blue Note peer, Wayne Shorter- ie. representing the composer/pianist at his imaginitive peak. We can only imagine what kind of zone Freddie Hubbard, George Coleman, Ron Carter and Tony Williams must have been during the recording of this masterpiece- so wonderfully coherent yet brimming with subtle musical conflict. And Hancock's playing is simply majestic.

The opening track is stunningly simple- you might feel a little uninspired by the low-key opening, but then, all of a sudden, it all opens out beautifully during the trumpet solo. This short flourish embodies the enitre tone of the album and indeed the majesty of the ocean in its sense of wonder and awe.

After the fast-and-furious Eye of the Hurricaine, Hancock, with Little One, reminds us of his ability to produce deeply complex and challenging, yet incredibly beautiful compositions. It's probably my favourite track of the album.

Survival of the Fittest recalls The Egg, from Empyrean Isles(Blue Note, 1964) in its open improvisational structure. The sense of conflict and frantic struggle is briliantly portrayed, and the listener is unsure of whether the music is hideous, or beautiful.

To round off, Herbie returns to laid-back territory with Dolphin Dance- fresh enough to clear our musical palette after what has preceded.

While the briliant playing ability of this wonderful quintet is unquestionable, for me, it's Herbie's writing that makes album what it is. Maiden Voyage works as more of a "Love Supreme-esq" suite, rather than an album of five separate tracks. Not always easily listenable, always completley compelling, music is rarely this powerful.

La Mer, 29 May 2004
By now, Herbie Hancock was reaching a point were every convention, every facet of jazz he had experienced before was reaching near perfection in his compositions. He had already acheieved fame and lucratove offers from Blue Notes records, so finance was more or less assured. He was lucky. He had time to plan his works and choose the musicians he wanted. And Hancock was not a man to let such an opportunity just whizz by. This album proves that.
The sound and it's purpose is almost overpowering. It is a brilliant manifestation of the sea through sound. Particularly the opening and closing tracks capture the life of the sea and the sway and lull of the waves.
The playing on the musicians part is as always superb. Vocal resonance eminates from the saxophone and trumpet courtesy of Freddie Hubbard and George Coleman, bass strengthens the sound and gives it that woody, but flexible edge (Ron Carter). Tony Williams plays the drums as though they were an extention of his mind! The correctness of it all is overpowering. Herbie himself is genius at the keyboard. Particularly on Maiden Voyage, that piece which demands so much control and precision not only in tone, but dynamic and communication - it's handled brilliantly.
As I