Between 1965's Maiden Voyage and 1968's Speak Like a Child, Herbie Hancock
was consumed with his duties as part of the Miles Davis Quintet, who happened
to be at their creative and popular peak during those three years. When
Hancock did return to a leadership position on Speak Like a Child, it
was clear that he had assimilated not only the group's experiments, but
also many ideas Miles initially sketched out with Gil Evans. Like Maiden
Voyage, the album is laidback, melodic and quite beautiful, but there
are noticeable differences between the two records. Hancock's melodies
and themes have become simpler and more memorable, particularly on the
title track, but that hasn't cut out room for improvisation. Instead,
he has found a balance between accessible themes and searching improvisations
that work a middle ground between post-bop and rock. Similarly, the horns
and reeds are unconventional. He has selected three parts -- Thad Jones'
flugelhorn, Peter Phillips' bass trombone, Jerry Dodgion's alto flute
-- with unusual voicings, and he uses them for tonal texture and melodic
statements, not solos. The rhythm section of bassist Ron Carter and drummer
Mickey Roker keeps things light, subtle, and forever shifting, emphasizing
the hybrid nature of Hancock's original compositions. But the key to Speak
Like a Child is in Hancock's graceful, lyrical playing and compositions,
which are lovely on the surface and provocative and challenging upon closer
listening.
(by Stephen Thomas Erlewine, All
Music Guide)
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