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

(by Stephen Thomas Erlewine, All Music Guide)

Chicago-born Herbie Hancock was just 25 and a key member of the Miles Davis Quintet when he produced this sea-inspired masterpiece for Blue Note in 1965. Maiden Voyage was his fifth and arguably best album for the label, and three of its five songs – the gently pulsing and elegant modal-style title track, plus the tumultuous ‘Eye Of The Hurricane’ and graceful ‘Dolphin Dance’ – are now considered standards in the jazz repertoire. For the session, the pianist surrounded himself with musicians who were either currently with, or who had been in, Miles Davis’ band (bassist Ron Carter and drummer Tony Williams, plus tenor saxophonist George Coleman). Trumpeter Freddie Hubbard completed the line-up and dazzles with his solos. What impresses most, however, is the strength of the compositions, the inventiveness of the arrangements and the intuitive ensemble playing that brings them vividly to life. On Maiden Voyage, Hancock served up an album that was able to push and probe the boundaries of jazz while remaining eminently accessible. That’s no mean feat.

(www.udiscovermusic.com)

A maritime-themed concept album, Maiden Voyage is widely regarded as one of Herbie Hancock’s most satisfying long-players even though it came early on in the pianist’s long and storied career. Significantly, it marked a stylistic departure for Hancock, who ventured into the realm of modal jazz for the first time. With trumpeter Freddie Hubbard and saxophonist George Coleman combining their horns, Hancock brought in Ron Carter and Tony Williams – his colleagues in the Miles Davis Quintet – to drive the rhythm section. Of the album’s five tunes, the title song along with “Eye Of The Hurricane” and “Dolphin Dance” went on to be regarded as jazz standards.

(www.udiscovermusic.com)