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.

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.

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.

Better than Kind of Blue, 14 Apr 2005
Perhaps the jazz conservatives (e.g. Stanley Crouch) would burn me at the stake for the title of this review and yes, the soul-stirring Kind of Blue is certainly the best modal record I've heard, but I much prefer this, since Coltrane and Adderley really leap out and play from the get-go.
Dr. Jackle is absolutely manic to play, a Jackie McLean tune that this quintet seem to delight in playing rather fast. It's excellent hard-bop, and Miles plays an excellent solo which sticks to the middle register, a range which trumpeteers do not explore enough, though this can be only down to the influence of intervallic trumpeters like Dizzy. Listen out for the early duel between Adderley, and Coltrane. Listening to 'Two Bass Hit', it is an interesting contrast to hear it against the version on 'Round About Midnight. The two saxophonists play the opening line, and Red Garland plays the call-and-response piano. Coltrane's solo in this is very different, not relying on cliches, and theres still traces of those idiosyncratic runs of his in the solo. The excellent rhythmic support is almost forgotten in the midst of all this horn interplay. Sid's Ahead is another great piece.
'Milestones', my favourite track on the album, is a wonderful exploration of the modes, and I have to say, that Adderley's solo is certainly more assured and joyous than anything I've heard him play, even on Kind of Blue. If anyone sounds slightly perturbed by this piece, it's actually Coltrane. Garland's repetitive modal riff, keeps the tune pacing along wonderfully. He gets a chance to shine on 'Billy Boy', and his odd locked-hands style is on exhibit here, as well as his Ahmed-Jamal influenced bluesy runs on the piano. Philly Joe Jones and Paul Chambers are superb on this track too.
The version I've got closes on 'Straight No Chaser', which is a Monk tune. The quintet run through this and render it their own, due to the excellent playing of all the quintet, Adderley tries to match Coltrane's stellar scalar runs, and Coltrane's 'angry' saxophone style is in full flow here. Adderley's solo is wonderfully dissonant at points, forcing the listener to pay attention to what he is playing, and his solo is slightly more lyrical than Coltrane's, who I have to say, finds his modal voice on Kind of Blue.
This album may not be as lyrical or profound as Kind of Blue, but amidst all the recycled babble and attempts to explain Kind of Blue's genius, Milestones still stands the test of time, and benefits from being so unscathed.
I enjoy listening to this record more than Kind of Blue, which is simply a small matter of preference for that is all basically what musical criticism is about at the end of the day (unless you're employed by a firm to write). This record in its own right, is a tour de force, an example of true virtuosity, not just showboating, pretentious jazz, but also a fine portrait of what happens when some of the best musicians come into the studio and just play their arses off. Highly recommended.

Half a Great Album, 05 Jun 2004
If Milestones is one of Miles's great albums, meriting a 5-star rating, I think it's mainly on the strength of its three best tracks: "Milestones", "Straight No Chaser" and "Sid's Ahead". For me, the three less impressive tracks are the ones at the fastest tempos. "Billy Boy" is a feature for the rhythm section as a piano trio, therefore mainly for pianist Red Garland. Unfortunately, although a technically accomplished player and possibly highly regarded by many listeners, he always seemed to me a lightweight soloist; and since the piece is a corny arrangement of a very trite tune it's no surprise if it fails to improve with repeated listening, despite the brilliance of Paul Chambers and Philly Joe Jones which gives the piece its vitality. "Two Bass Hit" may have been an entertaining novelty number in the heyday of be-bop but it's hardly one of John Lewis's best compositions. Miles doesn't solo on this one, so it's mainly a feature for Coltrane's and Adderley's fast playing. If you like that sort of thing, there's more of it on "Dr Jackle", another rather uninteresting boppish theme. Coltrane and Adderley demonstrate their skill at playing lots of notes per minute. Miles shows how fewer notes can be used to greater effect ("less is more"), giving the impression that he is playing on top of the tempo rather than racing to keep up with it.

"Milestones" (a.k.a. "Miles") is better. Like most of the material on Miles's 'Kind of Blue' album it's a simply constructed but interesting modal theme which challenges the soloists and inspires them to some carefully thought out solos. Even better in my opinion is the group's version of Thelonius Monk's up-tempo blues, "Straight No Chaser". Like "Milestones" (though it's a different kind of piece) it's an interesting composition in its own right, ingeniously constructed out of a simple motif. With its strong harmonic foundation and bouncing swing it brings out the best in Coltrane and Adderley, as in Miles himself who plays with elegance as well as 'bite'. "Sid's Ahead" is another 12-bar blues, this one at a moderate 'walking' pace - a type of piece and a tempo which suited Miles and inspired some of his best improvising (try "Walkin' " and "Bags' Groove" from 1954 and "All Blues" and "Freddie Freeloader" on 'Kind of Blue').

If you like Coltrane's and Adderley's playing of this vintage (before Trane went 'avant garde' and Cannonball went commercial) you will probably want this album if you don't already have it. If you like Garland's piano playing you will enjoy "Billy Boy" more than I do. I respect his technical skill, but I never hear any kind of 'depth' in anything he played. I've known people to feel the same about 'Cannonball' Adderley. Miles in his solos never plays less than well and there is some of his best work on what I've identified as the three best tracks. Paul Chambers is superb as usual. Philly Joe Jones is magnificent and, for aficionados of modern jazz drumming, he may well be the real star of the session.

The bonus 'alternate takes' of "Milestones" and "Straight No Chaser" are worth having. You might think the 'alternate take' of "Two Bass Hit" is worth having too. If you like that sort of thing.

FANTASTIC, 28 May 2004
Where do I begin?! What a blast; exhilarating, exciting and plenty to get your cerebral listening gear into. The first cut (Dr Jackle). Introduces the album very succintly and it does not let up from there. To avoid analytical nonsense; it just sounds great, and surprises and pleases at every turn. Sometimes its a full blown solo which raises the goodbumps and sometimes just a single note chord from the comping piano played in perfect time which does the business. Just get the disc and enjoy a high octane ride! In so many ways this album is great.

Half a Great Album, 28 Apr 2004
If Milestones is one of Miles's great albums, meriting a 5-star rating, I think it's mainly on the strength of its three best tracks: "Milestones", "Straight No Chaser" and "Sid's Ahead". For me, the three weaker tracks are the ones at the fastest tempos. "Billy Boy" is a feature for the rhythm section as a piano trio, therefore mainly for pianist Red Garland. Unfortunately, although a technically accomplished player and possibly highly regarded by many listeners, he always seemed to me a lightweight soloist; and since the piece is a corny arrangement of a very trite tune, it's no surprise if it fails to improve with repeated listening, despitethe brilliance of Paul Chambers and Philly Joe Jones which gives the piece its vitality. "Two Bass Hit" may have been an entertaining novelty number in the heyday of be-bop but it's hardly one of John Lewis's bestcompositions. Miles doesn't solo on this one, so it's mainly a feature for Coltrane's and Adderley's fast playing. If you like that sort of thing, there's more of it on "Dr Jackle", another rather uninteresting boppish theme. Coltrane and Adderley demonstrate their skill at playing lots of notes per minute. Miles shows how fewer notes can be used to greater effect ("less is more"), giving the impression that he is playing on top of the tempo rather than racing to keep up with it.
"Milestones" (a.k.a. "Miles") is better. Like most of the material on Miles's 'Kind of Blue' album it's a simply constructed but interesting modal theme which challenges the soloists and inspires them to some carefully thought out solos. Even better in my opinion is the group's version of Thelonius Monk's up-tempo blues, "Straight No Chaser". Like "Milestones" (though it's a different kind of piece) it's an interesting composition in its own right, ingeniously constructed out of a simple motif. With its strong harmonic foundation and bouncing swing it brings out the best in Coltrane and Adderley, as in Miles himself who plays with elegance as well as 'bite'. "Sid's Ahead" is another 12-bar blues, this one at a moderate 'walking' pace - a type of piece and a tempo which suited Miles and inspired some of his best improvising (try "Walkin' " and "Bags' Groove" from 1954 and "All Blues" and "Freddie Freeloader" on 'Kind of Blue').
If you like Coltrane's and Adderley's playing of this vintage (before Trane went 'avant garde' and Cannonball went commercial) you will probably want this album if you don't already have it. If you like Garland's piano playing you will enjoy "Billy Boy" more than I do. I respect his technical skill, but I never hear any kind of 'depth' in anything he played. I've known people to feel the same about 'Cannonball' Adderley. Miles in his solos never plays less than well and there is some of his best work on what I've identified as the three best tracks. Paul Chambers is superb as usual. Philly Joe Jones is magnificent and, for aficionados of the better modern jazz drumming, he may well be the real star of the session. The bonus 'alternate takes' of "Milestones" and "Straight No Chaser" are worth having. You might think the 'alternate take' of "Two Bass Hit" is worth having too. If you like that sort of thing.

Miles' Tones!, 17 Feb 2002
Whether you are a jazz newcomer, or a hardened jazz fanatic, this album will blow you away. Buy it, listen to it on your personal hi - fi walking down the street and it will make you soar above the clouds. It's cool, joyous sounds will make you see just what made this man the jazz legend he so rightly deserves. If you haven't hear Miles before, this is a great intro to him and his music.

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.

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.

Better than Kind of Blue, 14 Apr 2005
Perhaps the jazz conservatives (e.g. Stanley Crouch) would burn me at the stake for the title of this review and yes, the soul-stirring Kind of Blue is certainly the best modal record I've heard, but I much prefer this, since Coltrane and Adderley really leap out and play from the get-go.
Dr. Jackle is absolutely manic to play, a Jackie McLean tune that this quintet seem to delight in playing rather fast. It's excellent hard-bop, and Miles plays an excellent solo which sticks to the middle register, a range which trumpeteers do not explore enough, though this can be only down to the influence of intervallic trumpeters like Dizzy. Listen out for the early duel between Adderley, and Coltrane. Listening to 'Two Bass Hit', it is an interesting contrast to hear it against the version on 'Round About Midnight. The two saxophonists play the opening line, and Red Garland plays the call-and-response piano. Coltrane's solo in this is very different, not relying on cliches, and theres still traces of those idiosyncratic runs of his in the solo. The excellent rhythmic support is almost forgotten in the midst of all this horn interplay. Sid's Ahead is another great piece.
'Milestones', my favourite track on the album, is a wonderful exploration of the modes, and I have to say, that Adderley's solo is certainly more assured and joyous than anything I've heard him play, even on Kind of Blue. If anyone sounds slightly perturbed by this piece, it's actually Coltrane. Garland's repetitive modal riff, keeps the tune pacing along wonderfully. He gets a chance to shine on 'Billy Boy', and his odd locked-hands style is on exhibit here, as well as his Ahmed-Jamal influenced bluesy runs on the piano. Philly Joe Jones and Paul Chambers are superb on this track too.
The version I've got closes on 'Straight No Chaser', which is a Monk tune. The quintet run through this and render it their own, due to the excellent playing of all the quintet, Adderley tries to match Coltrane's stellar scalar runs, and Coltrane's 'angry' saxophone style is in full flow here. Adderley's solo is wonderfully dissonant at points, forcing the listener to pay attention to what he is playing, and his solo is slightly more lyrical than Coltrane's, who I have to say, finds his modal voice on Kind of Blue.
This album may not be as lyrical or profound as Kind of Blue, but amidst all the recycled babble and attempts to explain Kind of Blue's genius, Milestones still stands the test of time, and benefits from being so unscathed.
I enjoy listening to this record more than Kind of Blue, which is simply a small matter of preference for that is all basically what musical criticism is about at the end of the day (unless you're employed by a firm to write). This record in its own right, is a tour de force, an example of true virtuosity, not just showboating, pretentious jazz, but also a fine portrait of what happens when some of the best musicians come into the studio and just play their arses off. Highly recommended.

Half a Great Album, 05 Jun 2004
If Milestones is one of Miles's great albums, meriting a 5-star rating, I think it's mainly on the strength of its three best tracks: "Milestones", "Straight No Chaser" and "Sid's Ahead". For me, the three less impressive tracks are the ones at the fastest tempos. "Billy Boy" is a feature for the rhythm section as a piano trio, therefore mainly for pianist Red Garland. Unfortunately, although a technically accomplished player and possibly highly regarded by many listeners, he always seemed to me a lightweight soloist; and since the piece is a corny arrangement of a very trite tune it's no surprise if it fails to improve with repeated listening, despite the brilliance of Paul Chambers and Philly Joe Jones which gives the piece its vitality. "Two Bass Hit" may have been an entertaining novelty number in the heyday of be-bop but it's hardly one of John Lewis's best compositions. Miles doesn't solo on this one, so it's mainly a feature for Coltrane's and Adderley's fast playing. If you like that sort of thing, there's more of it on "Dr Jackle", another rather uninteresting boppish theme. Coltrane and Adderley demonstrate their skill at playing lots of notes per minute. Miles shows how fewer notes can be used to greater effect ("less is more"), giving the impression that he is playing on top of the tempo rather than racing to keep up with it.

"Milestones" (a.k.a. "Miles") is better. Like most of the material on Miles's 'Kind of Blue' album it's a simply constructed but interesting modal theme which challenges the soloists and inspires them to some carefully thought out solos. Even better in my opinion is the group's version of Thelonius Monk's up-tempo blues, "Straight No Chaser". Like "Milestones" (though it's a different kind of piece) it's an interesting composition in its own right, ingeniously constructed out of a simple motif. With its strong harmonic foundation and bouncing swing it brings out the best in Coltrane and Adderley, as in Miles himself who plays with elegance as well as 'bite'. "Sid's Ahead" is another 12-bar blues, this one at a moderate 'walking' pace - a type of piece and a tempo which suited Miles and inspired some of his best improvising (try "Walkin' " and "Bags' Groove" from 1954 and "All Blues" and "Freddie Freeloader" on 'Kind of Blue').

If you like Coltrane's and Adderley's playing of this vintage (before Trane went 'avant garde' and Cannonball went commercial) you will probably want this album if you don't already have it. If you like Garland's piano playing you will enjoy "Billy Boy" more than I do. I respect his technical skill, but I never hear any kind of 'depth' in anything he played. I've known people to feel the same about 'Cannonball' Adderley. Miles in his solos never plays less than well and there is some of his best work on what I've identified as the three best tracks. Paul Chambers is superb as usual. Philly Joe Jones is magnificent and, for aficionados of modern jazz drumming, he may well be the real star of the session.

The bonus 'alternate takes' of "Milestones" and "Straight No Chaser" are worth having. You might think the 'alternate take' of "Two Bass Hit" is worth having too. If you like that sort of thing.

FANTASTIC, 28 May 2004
Where do I begin?! What a blast; exhilarating, exciting and plenty to get your cerebral listening gear into. The first cut (Dr Jackle). Introduces the album very succintly and it does not let up from there. To avoid analytical nonsense; it just sounds great, and surprises and pleases at every turn. Sometimes its a full blown solo which raises the goodbumps and sometimes just a single note chord from the comping piano played in perfect time which does the business. Just get the disc and enjoy a high octane ride! In so many ways this album is great.

Half a Great Album, 28 Apr 2004
If Milestones is one of Miles's great albums, meriting a 5-star rating, I think it's mainly on the strength of its three best tracks: "Milestones", "Straight No Chaser" and "Sid's Ahead". For me, the three weaker tracks are the ones at the fastest tempos. "Billy Boy" is a feature for the rhythm section as a piano trio, therefore mainly for pianist Red Garland. Unfortunately, although a technically accomplished player and possibly highly regarded by many listeners, he always seemed to me a lightweight soloist; and since the piece is a corny arrangement of a very trite tune, it's no surprise if it fails to improve with repeated listening, despitethe brilliance of Paul Chambers and Philly Joe Jones which gives the piece its vitality. "Two Bass Hit" may have been an entertaining novelty number in the heyday of be-bop but it's hardly one of John Lewis's bestcompositions. Miles doesn't solo on this one, so it's mainly a feature for Coltrane's and Adderley's fast playing. If you like that sort of thing, there's more of it on "Dr Jackle", another rather uninteresting boppish theme. Coltrane and Adderley demonstrate their skill at playing lots of notes per minute. Miles shows how fewer notes can be used to greater effect ("less is more"), giving the impression that he is playing on top of the tempo rather than racing to keep up with it.
"Milestones" (a.k.a. "Miles") is better. Like most of the material on Miles's 'Kind of Blue' album it's a simply constructed but interesting modal theme which challenges the soloists and inspires them to some carefully thought out solos. Even better in my opinion is the group's version of Thelonius Monk's up-tempo blues, "Straight No Chaser". Like "Milestones" (though it's a different kind of piece) it's an interesting composition in its own right, ingeniously constructed out of a simple motif. With its strong harmonic foundation and bouncing swing it brings out the best in Coltrane and Adderley, as in Miles himself who plays with elegance as well as 'bite'. "Sid's Ahead" is another 12-bar blues, this one at a moderate 'walking' pace - a type of piece and a tempo which suited Miles and inspired some of his best improvising (try "Walkin' " and "Bags' Groove" from 1954 and "All Blues" and "Freddie Freeloader" on 'Kind of Blue').
If you like Coltrane's and Adderley's playing of this vintage (before Trane went 'avant garde' and Cannonball went commercial) you will probably want this album if you don't already have it. If you like Garland's piano playing you will enjoy "Billy Boy" more than I do. I respect his technical skill, but I never hear any kind of 'depth' in anything he played. I've known people to feel the same about 'Cannonball' Adderley. Miles in his solos never plays less than well and there is some of his best work on what I've identified as the three best tracks. Paul Chambers is superb as usual. Philly Joe Jones is magnificent and, for aficionados of the better modern jazz drumming, he may well be the real star of the session. The bonus 'alternate takes' of "Milestones" and "Straight No Chaser" are worth having. You might think the 'alternate take' of "Two Bass Hit" is worth having too. If you like that sort of thing.

Miles' Tones!, 17 Feb 2002
Whether you are a jazz newcomer, or a hardened jazz fanatic, this album will blow you away. Buy it, listen to it on your personal hi - fi walking down the street and it will make you soar above the clouds. It's cool, joyous sounds will make you see just what made this man the jazz legend he so rightly deserves. If you haven't hear Miles before, this is a great intro to him and his music.

Effortless brilliance, 16 Feb 2007
Hynotic, subtle and the same time wonderfully soulful this record surely sits within the top five of all time Blue Note releases. It's the ultimate late night session. The consistently wonderfully Kenny Burrell who makes the difficult sound effortlessly simple gives a masterclass in Jazz guitar playing with an endlesss tapestry of smooth licks that melt into the instinctive groove of Stanley Turrentine's sax. It's a partnership made in heaven, they work so languidly off each other on, "Mule" The way Burrell brings in the track on,"Soul lament," with his emotive twanging are classic bars of music. I am also particularly fond of the waltz tempo on,"Wavy Gravy."
This record is wonderfully focussed, Burrell's musical philosophy is stamped all over the music. The rhythm section do some great work too. On,"Midnight Blue," Ray Barretto's conga which keeps the groove skipping along.
Credit must also go to producer Alfred Lion who allowed Burrell scope and time to work through the tracks when at the time it was unusual to give the guitar so much exposure.
This record has a unique mood and feel to it that you simply won't find on other records. If you are just starting a Jazz collection make this one of your essential first purchases.

Classic Blue Note, 05 May 2004
If I was asked by someone who had no experience of jazz what album would serve as a good introduction to the music, I would unreservedly recommend Kenny Burrell's 1967 masterpiece "Midnight Blue." This was recorded at a time when the boundaries of the music were being pushed ever further out and the technical aspects were becoming increasingly complex. Whilst these developments were commendable, Burrell simultaneously produced this album that consists of nothing more complicated than either of blues or blues based material such as "Gee Baby, aint I good to you." Of course, in the hands of great jazz musicians, the simple form of the blues offers unlimited possibilities and "Midnight Blues" is , perhaps, the supreme example of what can be achieved. The disc features the leader's deliciously cool guitar licks with the soulful tenor sax of Stanley Turrentine and the two are ably supported by a grooving rythmn section. "Chitlins con carne" will be familiar with many listeners as it has been employed on numerous TV commercials, but it is true to say that there is not a dull moment on the record. "Mule" gets really low down into the blues whilst "Wavy Gravy" is an infectious 3/4 groover. (If your toes are tapping to this one, you must have seriously have a problem!) However, my favourite track is "Saturday Night Blues" where Turrentine cranks the tension up chorus after stonking chorus.
During the 1950's and 60's the Blue Note label produced a stream of brilliant albums, many of which have justly been acknolwedged to be real classics. Kenny Burrell's "Midnight Blue" is rightly considered to be amongst the upper echelon of these great recordings and is flawless in it's execution. Even the cover by Reid Miles is a classic!!
This is one of my all time favourite records and is unreservedly recommended to those who have not yet been acquainted with it.

Delicious!!, 20 Jan 2004
Well I'd never heard of Kenny Burrell and simply took a punt on this and oh boy its still cooking. I must say, I introduced this album at a party full of hip-hop folks and I do believe I got my point across and a few converted people along the way(they still can't openly admit it though :) ). Wonderful album

Wonderful..., 30 Dec 2003
Wonderful indeed… and worthy of inclusion on anyone’s shortlist of the best late night albums ever made. Kenny Burrell’s & Stanley Turrentine’s superbly cool playing combined with strong blues based melodies and lock-tight backings produce music that completely captures the ambience of a smoky club on a hot summer night. Unobtrusive, unforgettable and packed full of low-key jazz virtuosity at its very best.

A Goodie., 29 Oct 2003
I bought this from Amazon because the sax player is Stanley Turrentine, whose "Blue Hour Sessions" (check that one out too readers) is one of my all time favourites. This CD is in a similar vein. Blues rhythms with a jazz feel, but never losing sight of the blues. Every track, including the 2 bonuses is a winner, taking you to the jazz club you wish you had visited last night when you heart was breaking. Kenny Burrell's funky guitar, together with Turrentine's smooth as velvet sax cooks up a bluesy sleazy recipe for the musical gourmet.

A musical chameleon, pianist Keith Jarrett was at his finest when he recorded these sustained solo improvisations in a German concert hall in 1975, the first lasting 26 minutes, the second 40. Melodies and rhythmic figures arise fluidly from his fingers as he moves from one idea to another, while his strong left hand is often used for repeated motifs that generate a rolling hypnotic power. This couples with strongly consonant harmonies to impart the flavour of gospel music at times, dance music and Debussy at others. Above all, it's Jarrett's ability to knit all of his moods and wanderings into an almost seamless tapestry of warm and tuneful ideas that gives this music its enduring appeal. --Stuart Broomer

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.

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.