Jazz Anniversary: February 8, 1966 @ New Jersey “Maiden Voyage” by Bobby Hutcherson

Feb. 8, 1966 “Maiden Voyage”
by Bobby Hutcherson, Herbie Hancock, Bob Cranshaw & Joe Chambers at Van Gelder Studio, Englewood, NJ for Blue Note (HAPPENINGS)

Among the many masterpieces created by jazz piano giant Herbie Hancock, the song titled “Maiden Voyage”—which he himself calls his “favorite song” in his autobiography “Possibilities”—was likely cemented as a standard by this memorable cover performance.

With Hancock himself participating on piano, the leader Bobby Hutcherson’s exhilarating vibraphone matches the superb melody perfectly. It is a wonderful performance that inherits and evolves the atmosphere of the original “Maiden Voyage,” a song filled with tension and the feeling of navigating while bewildered, as if you don't know what you might encounter, just as the title suggests. The interplay between the piano and the vibraphone is the heart of this track. When one takes a solo, the other shifts to accompaniment, progressing with a well-paced exchange like a calculated, seasoned comedy duo.

The climax is Hutcherson’s solo, especially the intense resonance from the hard strikes on the vibraphone starting at 3:52. It is thrilling to hear the metallic timbre, rich in overlapping overtones that you don't usually hear—a sound that can only be expressed by this instrument—captured in such a concentrated way. Doesn't it give you that sensation of a brain freeze from shaved ice? I suspect that even the master recording engineer Van Gelder must have struggled to capture this, and because playing back this section tests the capabilities of your audio equipment and reveals its characteristics, it can also be used as a reference source.

A major difference from the original work is in the drums. Compared to the genius Tony Williams on the original, who creates a thrilling drama with dynamic, unpredictable ad-libs both vertically and horizontally, Joe Chambers here, while similar in his diverse drumming style, keeps a vertical rhythm throughout with restrained adventurous ad-libs. Perhaps because of this, when comparing the two, one inevitably gets the impression of a safer voyage. However, what is distinctive is the use of the hi-hat. It sounds as if he has replaced the irregular, spice-like rhythms usually played on the snare drum with the hi-hat. Given that the composer is participating in the performance himself and that it is a restrained performance by a drummer who also plays vibraphone, it is likely a calculated production based on a clear intention to avoid interference with the metallic sounds of the vibraphone, which also has percussive elements.

The highly polished album by Hancock that shares the same title and includes the original performance below is also one of the greatest masterpieces and is highly recommended. Although it was recorded in March, I think the reason it, like this work, makes you want to listen to it in the winter season is because of the compatibility between the cold atmosphere and the cool performance that carries enough tension to make you straighten your back. Comparing the atmosphere and the aforementioned drums with this performance is interesting, but it is also fascinating to compare the approach of this Hutcherson performance—which utilizes the characteristics of an instrument where the sound decays—with the performance by Freddie Hubbard, the trumpeter who held the main melody on the original and who Hutcherson co-starred with on his debut album, as he cuts through with dramatic breath control. Now, please enjoy the original song.

Hutcherson’s comments regarding this song are recorded in the liner notes of this album.

So he hadn't heard the full album performance beforehand. According to Hancock, because the TV commercial for men's cologne was to be filmed in a stylish jazz club, he created a song with a rhythm closer to rock than jazz to make it more accessible. He says that the advertising agency then removed the drums and changed the bass line to a tango style to complete the commercial song. It would be great to see the commercial that Hancock and Shorter produced, which used music that progressed with a tango-like rhythm. It makes me even more curious since the tenor saxophonist on the original song was George Coleman, not Shorter. I tried to search for that audio source, but unfortunately, I couldn't find it, so instead, I have posted a 1960s print advertisement for Yardley's men's grooming products. Does it convey the atmosphere of the time?

Beyond just full-page newspaper ads, Yardley seemed to have a commitment to music, and there is a video of a TV commercial featuring The Monkees, who were at the peak of their popularity at the time, so please take a look if you are interested. You can see traces of the considerable advertising budget they were pouring in back then.

Returning to this song, I will also introduce a few cover performances.

First is the Latin version by Pucho & His Latin Soul Brothers, which is surprisingly compatible and addictive. Was the tango style of the commercial something like this?

And there is also a live performance by Grant Green that proceeds in a mellow funk style.

Another one is a unique fusion-style vocal track produced in the late 70s by a group of Bette Midler's backing singers.

The fact that it is a song that looks good in any style is, I believe, a manifestation of the outstanding talent of Hancock, a rare melody maker.

Now, the performance of “Dolphin Dance” below, which I introduced the other day and where you can enjoy Jamal’s exquisite timing and extraordinary melodic sense, is also a cover from the same Hancock album, and this work was also recorded in February. If Latin and funk are ideas for arrangements that go against the grain with unexpected twists, I think Hancock’s original is one of those masterpieces that is compatible with the cold season and makes you want to listen to (and play) it in winter.

Please have a wonderful day along with a cool performance that matches the winter atmosphere.

For those who wish to further enjoy Hutcherson's exhilarating vibraphone, please listen to his collaboration with drummer Williams, which is overflowing with the seasonal feeling of early summer.