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Maiden Voyage

“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.” – Allmusic

Original Liner Notes written by Herbie Hancock:

“The sea has often stirred the imagination of creative minds involved in all spheres of art. There still exists an element of mystery which surrounds the sea and the living aquatic creatures which provide it with its vital essence. Atlantis, the Sargasso Sea, giant serpents, and mermaids are only a few of the many folkloric mysteries which have evolved through man’s experiences with the sea.

This music attempts to capture its vastness and majesty, the splendor of a sea-going vessel on its maiden voyage, the graceful beauty of the playful dolphins, the constant struggle for survival of even the tiniest sea creatures, and the awesome destructive power of the hurricane, nemesis of seamen.” – Herbie Hancock

Original Liner Notes by Nora Kelly

Before the dawn of water is clear and quiet, the small movement of the waves rhythmic it is a stillness in itself. The birds are silent, and the beach is as empty as the sky, except for a few small crabs that poke among the rocks, looking for food tinier than they.

As the first hint of gray suffuses the horizon and imperceptibly lightens the deep black waters, a light wind ruffles the tips of the wavelets, whitening their crests with tongues of foam. Slowly the sand gains life, the grayness of the starry night becoming faintly yellow, a forerunner to the blazing white of noon.

In this empty hour the busy world is shrouded in loneliness. Half-buried cans glint weakly in the diffused light, and as the day grows broader, the whole length of the beach slowly becomes visible, vast and silent, the discarded residue of humanity scarring its desert purity. Metal wastebaskets are dotted over the landscape as far as the eye can see, looking strange and useless, as desolate as gravestones.

A single ship, perhaps on her maiden voyage, her mast a black spike against the sky, hovers near the horizon, until the curving waters sink her sail from view. The sand twinkles in the growing day, but all too soon the sea will break on a shore of people. Gone will be the huge, secret silence, as the masses stream from the city behind, scurrying madly like lemmings to the waiting strand.

But through the land may submit, the sea is yet implacable, changeless, and though the people, deeming themselves brave, tiptoe out from the edge of the land and splash in the shallows, tasting the salt, they can but shiver on the fringes of her mystery. Her vastness remains dark and secret, a misty world of silence and beauty and fluid grace. From the great sluggish sea turtles gliding in slow motion through the depths, to the swift and playful dolphins, jesters and intelligentsia of her kingdom, everything in the sea moves constantly in flight or pursuit.

To us a playground or a symbol of peace, to her creatures the sea is a water jungle, a world of swift life and swifter death, whose silence cloaks a lurking danger. Killer whales, cruel kings of the sea, cruise slowly about, slaying for the love of blood and battle. Sea anemones, beautiful and deadly, wave their tentacles, beckoning small fish to death by poison. Like the land, it is a world where the small and timid must be swift and clever at hiding, where the strong prey on the weak, the weak on those more defenseless than themselves, a world where only the fittest survive.

Ancient tales speak of its beauty and danger, of nameless terrors that lurk in the shadows, awaiting the unwary, of fantastic monsters rearing vast and hideous heads from the depths, crunching ships in tow with one snap of their jaws.

They speak too of the wondrous cities built by men of old under the sea, that appear only once in a hundred years, only to sink beneath the surface again, leaving no trace. Yet in truth, no cities of man exist beneath the sea, and lost Atlantis is but a woman’s tale. The sea yet holds her secrets, and it will be many a long year ere man plumbs her depths, ravaging her beauty, imprisoning her creatures, usurping her throne with a savage hand. – Nora Kelly

1998 Complete Blue Note Sixties Sessions Box Set Liner Notes:

MARCH 11, 1965 UNISSUED SESSION

This rejected (and lost) session is a mystery. Clearly from the titles recorded that day. (“Maiden voyage,” “Dolphin Dance” and “Little One” this date was to be the Maiden voyage album. Freddie was listed on cornet, George Coleman was on tenor, Herbie, Ron Carter on bass and…Stu Martin on drums. This session is listed in the Blue Note files but no tapes have been found. Stu Martin had recorded with Herbie on a Sonny Rollins session (for RCA), and had been with Gil Evans during 1964. We don’t know the reasons for Mr. Martin’s presence, and with no aural evidence, one can only speculate as to how the music sounded.

NEW SESSION RECORDED MARCH 17, 1965

Herbie went back into the studio for Blue Note and recorded one of jazz’s all-time great albums Maiden Voyage (BN-4195). Freddie was now on trumpet, George, Herbie and Ron were there, and now Tony Williams was on drums. The music recorded on this day remains fresh and vital. The compositions are among the most favored by jazz musicians all over the world. “Maiden voyage,” the title track, has been covered by hundreds of artists.

As the year 1965 rolled around, Miles took his Quintet to the West Coast, and broke house records at Basin Street West, a posh San Francisco nightspot. The quintet headed for Los Angeles and went into the Columbia Hollywood studios to record their first studio album. From January 20th thru the 22nd, the Miles Davis Quintet recorded the album ESP (Columbia CL 235O). Herbie’s composition “Little One” was recorded.

“Maiden Voyage’ is a simple composition, a variation on the 32-bar song form. The harmony is based on what jazz musicians call “sus chords.” The sus chords used in “Maiden Voyage” are based on the dominant seventh. The inspiration for this sound came from the coda to “Eighty-One”, recorded on the Miles Davis ESP album. After the final melody statement of “Eighty One”, Herbie lands on an F7sus and repeats a rhythm which is now known as the “Maiden Voyage’ pattern. The performance by this studio band (why was Wayne Shorter not on this date?) is classic.

“The Eye Of The Hurricane” is a 12-bar minor blues set off by a melody statement that changes meter on the 7th measure. The melody form subverts the blues form, but follows it closely. All of the solos are hot, especially Freddie, who gets inspired by minor blues changes.

Little One” is a waltz with a difficult, non-cliche solo form. It opens with a rubato statement and then enters the 84 pulse. “Little One” closes with a repeat of the rubato section.

“Survival Of The Fittest” follows in the tradition of “The Egg”. It is pure improvisation, but the musicians are improvising with open expressiveness. Once again Herbie has mixed up funk and freedom.

This classic album closes with one of jazz’s prettiest compositions, the lovely Dolphin Dance. Recorded (probably) as much as “Maiden Voyage.” “Dolphin Dance” is a unique Hancock original, with the form as challenging as the harmony. Vamps, odd cadences and tricky modulations capture the essence of this song. Herbie’s solo is memorable; he sustains the feel of the music and with his build up at the end (Tony Williams makes it easy) adds a sense of drama to the performance.

The album Maiden Voyage was a hit. Herbie remarked, but only in the jazz circle.’ But someone at Yardley Perfumes must have been in that circle, because shortly after Maiden Voyage was released, Yardley asked Herbie if they could use the title track for one of their television ads. Herbie consented and soon, “Maiden Voyage’ was reaching a larger audience, even if by the route of the jingle.

The impact Maiden Voyage has had on musicians is still evident today. How many songs have that “Maiden Voyage” vamp implied, or intended, in their structure? This album is indeed a classic, worthy of the praise.

The next month, (April 14) Herbie was involved in a Stanley Turrentine big band date for Blue Note (Joy Ride BN-4201) that Oliver Nelson had arranged the music for. Oliver had hired Herbie when Herbie first came to town, and trusted him to provide sensitive accompaniment behind Stanley and the big band. “Little Sheri” is a standout containing a fantastic Herbie solo.

That same day, Miles Davis underwent a serious operation on his hip, the result of a bad car accident. This meant that the Miles Davis Quintet was going to be inactive for a while. Herbie landed a gig at the Village Vanguard as an intermission pianist in May (opposite Sonny Rollins). On May 23, 1965, Blue Note assembled Herbie, Ron, Freddie and Joe Chambers to record Sam Rivers’s album Contours (BN-4206). The album is stunning, a high level of jazz playing is evident throughout the recording. Herbie plays fantastically on every song, and his solo on “Mellifluous Cacophony” is superb. During that solo, Herbie concentrates on a “right hand” solo, his left hand almost silent. (Herbie would later crystallize this sound on the Miles Davis album Miles Smiles a year and a half later).

By June, Herbie’s solo gig at the Vanguard had expanded into a trio with Ron Carter or Richard Davis on bass and Tony Williams on drums. The trio gigged in Baltimore and then with Wayne added, hit the Vanguard (billed as the “Miles Davis Quartet”). In the July 29 issue of Down Beat , there is a photo of Herbie with Wayne, Tony and Richard Davis from the Vanguard. On June 10, 1965, Herbie recorded with Bobby Hutcherson ( Components BN-4213). Bobby and Herbie were reunited, and from this session forward, they would record together often. Also on the date are Freddie, Ron and Joe Chambers. The title track stands out as superlative Hancock.

On June 14, 1965, Wayne Shorter recorded an album for Blue Note. On piano was Herbie, Cecil McBee was on bass, and Joe Chambers was the drummer. This session was not issued until 1978 in Japan as Wayne Shorter The Collector (GFX-3059) and, in the US in 198O, as Etcetera (BİN-LT-1O56).

As Miles lay in his bed recuperating, the members of his quintet were spreading themselves all over the place. Herbie worked with Milt Jackson in Philadelphia from July 12-17. On August 12, 1965, Tony Williams recorded his album Spring (BN-4216) for Blue Note. Herbie played on two tracks. The other musicians were Wayne, Sam Rivers and Gary Peacock. Soon after this recording, a verite tape from a club was made of Herbie, Wayne, Tony and an unidentified bassist (claims that Gary Peacock or Art Davis were on this gig have persisted despite denials from Peacock). The tunes played during this set included Herbie’s “The Eye Of The Hurricane” and Wayne’s “Oriental Folk Song” and “Virgo.” On September 17, Herbie was in Rudy’s sound factory recording with Lee Morgan. The date was rejected, and the next day the date was completed. The album was Lee Morgan Cornbread (BN-4222), and Herbie’s solo on “Ceora” is a definitive example for anyone who really wants to feel the power of Herbie’s touch and ideas. The solo is simply a masterpiece. The album itself is classic Blue Note, with Hank Mobley and Billy Higgins lending so much to this feeling.

On October 15, 1965, Wayne Shorter returned to the studio for Blue Note and recorded his album The All Seeing Eye (BN-4219). Most of the music is abstract, but tied together by a theme that invokes deep emotions from the musicians. The musicians include Freddie, Ron James Spaulding, Joe Chambers and Grachan Moncur III. Herbie tends to explore the rhythmic and expressionist side of the piano. What makes this date, and so many that Herbie was involved in, is the complete unity that the band achieves, the blend, the shared harmonic language, and the feeling that is evoked. The All Seeing Eye would be considered intellectual by some, but the musicianship demonstrated is too sophisticated for simple analysis. There is too much emotion with these musicians and an intensity that was evident in the performances. “We didn’t smile a lot in those days,” Herbie said to me after watching himself on videotape from 1967. “We [the Miles Quintet] really had an attitude, a level of seriousness that we took on stage.”

Herbie started getting calls for commercial jazz dates, and one of the first was the Donald Byrd “ Up With… ” sessions for Verve. Dave Pike hired Herbie for his rock-influenced album Jazz For The Jet Set (Atlantic SD-1457). Dave recorded Herbie’s tune “Blind Man, Blind Man.” The date took two sessions to complete (October 26 and November 2, 1965). On November 20, Herbie was called to participate in Wes Montgomery’s Goin’ Out Of My Head (Verve V-8642) as a session player. This session would solidify Herbie’s future as an in-demand sideman.

By this time, Miles Davis had recovered and was back in action. The first gigs were in Detroit at the Grand Bar. Gary Peacock was the bassist. By November, Miles was in Philadelphia at the Showboat with Reggie Workman on bass. This version of the Miles Davis Quintet hit the Vanguard in Greenwich Village and the Bohemian Caverns in Washington, D.C. By the end of December, Ron had rejoined in time for a two-day recording session for Columbia in Chicago. Miles Davis: The Complete Live At The Plugged Nickel was recorded on December 22nd and 23rd. It is a marvelous example of the quintet throwing caution to the wind. Obviously slowed down by Miles’s hip problems, the quintet pushed further that week than they realized. Herbie was liberated by the band’s enforced off-time, and his solos and comping are a true delight, fresh and exciting, and filled with a sense of wonder and discovery. Columbia released only parts of the two nights in 1977 and 1978 (in Japan and in 1985 in the US), before releasing everything in 1995.

Miles returned to New York and began a weekend-only policy at the Vanguard, which lasted about a month. Herbie made Woody Shaw’s demo session (with Joe Henderson, Paul Chambers and Joe Chambers) that was eventually released as In The Beginning in 1989. Nat Adderley hired Herbie to play on his Sayin’ Somethin’ date for Atlantic (SD-1460) On January 13, 1966. “Cantaloupe Island” was recorded. On February 3, 1966, Herbie recorded the title track for Wayne Shorter’s album Adam’s Apple (BN-4232), followed by a February 8 session for Blue Note under Bobby Hutcherson’s leadership. The album was called Happenings (BN4231) and it was a quartet with Bobby, Herbie, Bob Cranshaw and Joe Chambers. “Maiden Voyage” was recorded at this session. Happenings is an incredible display of Herbie’s power and strength. The musicianship level on this date was stunning. On February 24, Herbie Completed Wayne’s Adam’s Apple date. “The Collector” an abstract composition by Herbie, was recorded at this session. In 1968, Miles recorded this song and it was released in 1980 as “Teo’s Bag,” and erroneously credited to Miles Davis.

Herbie returned to the studio On March 5 to record two titles for a Freddie Hubbard session. On the date were Joe Henderson, Reggie Workman and Elvin Jones. The music was not released until 1987 (on Freddie Hubbard’s Blue Spirits CDP-46545). On March 28th and April 1st, Herbie played piano for Kai Winding’s Verve album Dirty Dog (V- 8661), which included “Cantaloupe Island” and “Blind Man, Blind Man.” From April 18-20, Herbie played on Ed Thigpen’s Verve album Out Of The Storm (V-8663). Maiden Voyage was recorded but never issued, and the album featured Clark Terry, Kenny Burrell and Ron Carter. Miles was working sporadically at this time, so Herbie had plenty of time to take sessions. Miles spent a week at the Bohemian Caverns the latter part of May. Clearly, Herbie was in demand not only as jazz soloist, but as a session player and composer as well.

By June, Herbie had started to sub for Hank Jones in Benny Goodman’s band at the Rainbow Room at the top of Rockefeller Center Music Masters has released some of this material which includes a great Herbie solo on “Avalon”. July 4th found Herbie back with Miles’s Quintet at the Newport Jazz Festival. On July 15, The Quintet appeared at Lewisohn Stadium, but soon Miles was cancelling gigs as fast as he could take them.

On July 19, 1966, Herbie went to Rudy’s to create a session based on soul and funk-jazz. The sidemen included Stanley Turrentine, Melvin Lastie on cornet, Garnett Brown on trombone, Pepper Adams on baritone sax, and a rhythm section consisting of Billy Butler and Eric Gale on guitar, Herbie on piano, Bob Cranshaw on electric bass and Bernard Purdie on drums. The session was a noble experiment. “I was trying to make a funk record without knowing a thing about funk,” Herbie said to me. “I really wasn’t ready, I hadn’t really gotten fully into rock music by then, I was still sort of a jazz snob, and the date didn’t turn out as I expected.” Of the six tracks recorded that day, Only one track is included on this collection called “Don’t Even Go There.” This track captures the spirit of this session. The next day, Herbie hit the road for Chicago to work with Miles for two weeks at the Plugged Nickel (July 20–31). Eddie Gomez was on bass. By August 7 the Quintet was in Detroit and on the 8th played the Ohio Valley Festival in Cincinnati.

Verve called again on September 14-16 for Herbie to play on Wes Montgomery’s California Dreamin’ album (V-8672). During this time, the Miles Davis Quintet worked at the Village Vanguard. On October 24th and 25th, Miles Smiles (Columbia CL 26O1) was recorded, arguably one of the most spectacular recordings in jazz. One cannot say enough about this recording, and it showcases Herbie in an unusual way. He’s noticed for not playing, the art of laying out during Miles’s and Wayne’s excursions. The finest track on the album is “Circle”, in which Herbie expands the language of jazz piano through his classical training. Herbie’s solo literally improvises Chopin and Ravel in a natural jazz style. The style and focus of this album is an extraordinary event in jazz history.

Herbie got a big break when Michelangelo Antonioni asked Herbie to score his art film Blow Up . In November 1966, Herbie put together a great band to record the music, which consisted of loose sketches and cues. Joe Henderson, Phil Woods, Freddie Hubbard, Jim Hall on guitar, Ron Carter and Jack DeJohnette on drums (who would be subbing for Tony at the Vanguard). The title track “Main Theme From Blow Up” was recorded later by Bobby Hutcherson, but lately “Jane’s Theme” has been discovered and covered by a new generation of jazz artists. The rest of the music has elements from all of Herbie’s Blue Note records, and shows a few surprises as well. The compositions are bold and adventuresome, with a healthy touch of the romantic. This film gave Herbie a very public cachet, and soon the music industry was taking a closer look at Herbie’s career. Creed Taylor started calling Herbie more frequently. December 2nd and 6th were reserved for Stan Getz’s Verve album Voices (V-8707). Miles settled in at the Village Vanguard for three weeks (with Jack DeJohnette on drums) and Herbie was in town to do sessions.

1999 Remastered Edition Liner Notes: “A New Look At Maiden Voyage”

Concept albums more often than not turn into attenuated exercises in pretense. Not so with this album, which has to be considered on of the all-time jazz masterpieces. There is an aura surrounding the melodic material and the rhythms, particularly the ebb-and-flow washed of Tony William’s drums, that sustain the nautical conceit; and the musicians respond in the spirit of wonder, adventure, risk, awe and joy appropriate to each track.

The band assembled here might be considered an edition of the Miles Davis quintet with Freddie Hubbard in the trumpet chair. As such, it reinforces the conclusion derived from Hancock’s previous Empyrean Isles – that, in Rudy Van Gelder’s studio under Alfred Lion’s supervision, the Hancock/Carter/Williams troika produced music every bit as magnificent (and far better sounding) than the justly-celebrated Davis quintet recordings for Columbia. Hubbard, who had played cornet on Empyrean Isles nine months earlier, is back on trumpet here, while George Coleman is added on tenor sax.

Coleman’s presence is a bit unexpected, given that he had left the Davis band in 1964 and that his ultimate replacement with Davis, Wayne Shorter, was a Blue Note leader who one assumes was as available as the rest of Davis’ band. Perhaps Hancock felt that Coleman had not received sufficient opportunity to display his skill in the context of newly-minted material during his tenure with the trumpeter. In any event, Coleman proves the model of eloquence here, and these solos remain among the most exquisite he ever recorded.

The work of Hubbard and Williams deserves special mention. Hubbard takes his horn into areas on the title track and “Eye Of The Hurricane” that galvanize the music, coming as close to translating the expressive innovations of John Coltrane to the trumpet as any brass player ever got.

(In a recent conversation, Hubbard acknowledged that the extended techniques heard here, and on his equally immortal solo on Oliver Nelson’s “Stolen Memories,” were directly inspired by Coltrane, and opined that such blowing may have contributed to his later embouchure problems.) For all of the “edge” that these flurries impart, Hubbard still turns in one of his most melodic performances. He often performed better as a sideman than a leader, especially when he worked on Hancock’s projects. Williams, for his part, never turned his sixth sense for percussive nuance more finely than he did on this session, where he captures every metaphorical breeze and droplet in Hancock’s compositions.

The compositions are among the classics of the period. Hancock had, at least temporarily, set aside the funky inclinations expressed so convincingly on “Watermelon Man” and “Cantaloupe Island,” and was plumbing the challenging harmonic terrain where beauty and experimentation coexist so brilliantly. For this album, he provided five distinct yet complimentary structures, two of which (“Maiden Voyage” and “Dolphin Dance”) continue to be as frequently covered as any jazz originals from the period. It makes Hancock’s achievement only more impressive when one realizes that the tunes were not originally conceived as a five-part suite. “Maiden Voyage” was written as background music for a TV ad; and the non-oceanic though emotionally fitting “Little One,” previously recorded by the Davis quintet with Shorter on the Columbia album ESP, was (like Hancock’s subsequent composition “The Sorcerer”) a tribute to Davis.

Blue Note logs indicate that an attempt had been made to record “Maiden Voyage,” “Little One” and “Dolphin Dance” six days earlier, with Hubbard on cornet and Stu Martin in place of Williams. Those performances were rejected at the time, and have been lost in the ensuing years. It might have been interesting to hear these alternate versions of such familiar tunes, but hardly essential. There is, after all, no way to improve a perfect album, and Maiden Voyage is one of the perfect ones. – Bob Blumenthal, 1999

2014 HD Tracks Remastered Edition Liner Notes:

The history of jazz is often told through the exploits of its firestarters, outsized personalities like Charlie Parker and Miles Davis who sent shockwaves through every bandstand they visited. That’s the headline level, and it’s useful for understanding various periods and styles. But as the music evolved and expanded in the 1960s, priorities shifted, and so did the roles of the players. There was need for musicians who were perhaps not always so flamboyant. The collective pursuit of a sound became as important as individual heroics, and that created opportunities for gifted team players and facilitators, musicians who sought to complement what was happening rather than dazzle people all the time.

Maiden Voyage springs from the mind of one of the most adept and creative of the sound-sculpting facilitators, pianist and composer Herbie Hancock. By the time he recorded this, Hancock had been in the Miles Davis Quintet for several years, an experience he, bassist Ron Carter and drummer Tony Williams, the rhythm section here, all described as transformative. Among Hancock’s tasks in that group was to create expansive landscapes for Davis; the pianist stoked and framed what became epic discussions by drawing on a range of sources. His accompaniments might glance at the syncopated jabs of 1920s Ellington, or the clusters of free jazz, or the gorgeous pastel chords associated with Debussy. Hancock has said that in the Davis fold he learned about space and subtlety, about how something small and slight, like a three-note chord, could trigger torrents of spontaneous creativity. To hear that in action, consult virtually any recording of the ‘60s Quintet.

Or check out this record, because Hancock brought those strategies for conjuring and slyly shaping a tune into his own projects. Maiden Voyage , arguably his peak solo statement from the 1960s, appropriates elements of the Davis group dynamic for a transfixingly understated meditation on the lure of the sea. It’s a classic that’s justifiably revered for its compositions and its solos, and also, perhaps most importantly, the rich and delicate interactions that run throughout. The album is a perfect case study in the art of group interplay; it offers an array of thoughtful answers to the question “How, exactly, does conversation happen in jazz?” Hancock starts with the notion of melody: Each of these five pieces is built around a singable theme, one that’s durable enough to be inverted, paraphrased or passed around the group in the heat of improvisation. The melodies of Hancock’s tunes serve as a kind of through-line, echoing in the margins.

Hancock refers to his themes, in oblique ways, when accompanying trumpeter Freddie Hubbard and tenor saxophonist George Coleman: He’s cultivating an atmosphere of expansive openness, and sometimes those glancing references help remind everyone involved about the dimensions of the canvas, the color palette and overall tone. This tactic proves particularly wise on the deceptively challenging “Dolphin Dance:” The mood is placid but the solos get stormy, and whenever it seems like the music is about to fracture, Hancock slips in some little phrase that gathers everyone back together.

In the headstrong jazz year 1965, lots of players were screaming “Look what I can do!” trying to grab attention by any contrived means possible. Hancock’s Maiden Voyage represents the flipside of all that: His windblown, undulating, intentionally low-key environment proceeds from the belief, acquired from Davis, that a minimal setting can inspire all kinds of meaningful musical conversations. Everybody is listening carefully, and out to enhance the proceedings. There is great grace, and concision, in every gesture here, and it’s not an accident that within these discussions, there are also bold, wailing outbursts and provocations. That’s what happens when everyone involved is in pursuit of musical aptness rather than audacity. – Tom Moon

Recorded on March 17, 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Original recording and 1998 remastering by Rudy Van Gelder.

All transfers from analog to digital were made at 24-bit resolution.

Originally issued as Blue Note BLP 4195 and BST 84195.

Maiden Voyage (Analysis)

Paul Elliott gives his pro perspective on the Rockschool piece 'Maiden Voyage', don't forget to check the overview and walkthrough in your book too!

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RSL Awards (Rockschool) is the world's foremost awarding body for contemporary Arts. It is known for its groundbreaking approach to popular music education, with learning material for guitar, drums and piano perfeced over decades.

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The Great Maiden Voyage Drum Tab

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Maiden Voyage

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Catalog Number: RAR7894 UPC: 845121017854 Style: Metal Tracks: 10 Time: 32:16 Lyrics: Yes Packaging: 4 panel jewel case ABOUT THE ALBUM This heavy metal classic was originally released in 1996 and has been out of print for over half a decade. Fifteen years later, the 2010 Collector's Edition features stunning new artwork, while the music has been remixed, remastered and partially re-recorded. We extend a special thanks to the amazing Robert Sweet (Stryper) for providing real drums on this Collector's Edition (the original recording featured a drum machine). We asked him to 'really let loose' and to 'drum like you've always wanted to - with no restrictions' and that's exactly what he did! The result is a world-class heavy metal release with drums by a bonafide superstar! Guitar duties are handled by axeman extraordinaire, Bill Menchen (Seventh Power, Menchen, Final Axe, Rev Seven, Redeemer) and the sudden impact vocals of Keith Miles (Final Axe, Holy Right) provide a powerful classic metal experience with vocals riffs that could power the Titanic! Melodic power metal fans have made it clear that Maiden Voyage is a classic worthy of it's legendary, heavy-weight status! For fans of Judas Priest, Bloodgood, Neon Cross and Saint. White Throne Blog: 'When you listen to the improved 'Fight Back,' 'I Am Watching You,' 'Ocean Of Blood,' or 'Gods Of War' there is so much more feel that it enhances Bill's guitar riffs. It is simply astounding.' WHITE THRONE BLOG REVIEW With a powerful energetic drum assault from Strypers Robert Sweet these reissues of Bill Menchen's Titanic are even more powerful than when they were first released. Both Maiden Voyage and Screaming in Silence were solid heavy metal albums before. Now with the drumming of Robert Sweet they are spectacular! This is mid paced heavy metal that leather jackets and denim jeans were made for. Both 'Screaming...' and 'Maiden...' were originally released using a drum machine (if that is incorrect someone please correct me.) Needless to say the sound wasn't as big as it could've been. It showcased Menchens guitar prowess and Sam Tyler's vocal styles. Screaming in Silence and Maiden Voyage highlighted powerful hook laden heavy metal songs. Now with this new dynamic of real drums by Sweet, he added the missing piece, power, feel, drive and downright rock n roll attitude. When you listen to the improved 'Fight Back,' 'I am Watching You,' 'Oceans of Blood,' or 'Gods of War' from Maiden Voyage there is so much more feel that it enhances Bills guitar riffs. It is simply astounding. The added bass drums and fills just increase the power that was already there in the songs to begin with. The hair starts swirling and the neck joins in with glorious praise. The songs from Screaming in Silence also receive a tremendous boost from real drumming. Robert's dynamics on 'Hypnotic' enhance a very groove influenced metal song and just add that missing piece. 'As I Am,' 'See through My Eyes' are some just obvious examples of the intensity taken up to the next notch. Bill & Sam's passion are obviously there but with a drummer of Robert's caliber behind the kit he adds the spark to a smoldering metal flame that ignites in a blaze of glory. The hooks are stronger and more infectious than before. The songs here just sound vastly improved. Heavier than say Priest's Point of Entry but perhaps not quite British Steel. Hook filled like Saxon's Denim and Leather but with the guts of Armored Saints Raising Fear. Not ground breaking but first rate. Any takers? I would almost view those first two original releases as warm up demos for the real thing. The introduced you to the songs and band, but were'nt the finished product. So if you don't already own the original releases do yourself a favor this spring, and if you do you will definitely want the upgrade. These releases are the real thing and if you're a fan of traditional metal ala Armored Saint, Judas Priest, Dio and Accept don't hesitate and add these discs to your collection. Bang yer head and yell! ANGELIC WARLORD REVIEW Ever give an album you did not initially like a second chance and ended up pleasantly surprised? That would be the best way to describe the "love-hate" relationship I have had with Titanic's full length debut Maiden Voyage. The origin of Titanic can be traced to the late eighties and the duo of guitarist Bill Menchen and vocalist Keith Miles, who formed Final Axe and released a well received 10 song demo entitled Beyond Hell's Gate in 1989. A second project (with the working title Burn In Hell) was started but scrapped when Final Axe broke up. Titanic did not come into being until the mid-nineties when Menchen and Miles (now under the moniker Simon Tyler) reunited and recorded Maiden Voyage in 1996. I immediately purchased a copy as soon as it became available. Now, this is where that "love-hate" relationship in question begins. My first impression on listening to Maiden Voyage is that it was a bunch of boring and repetitious heavy metal characterized by sub par songwriting. As the years passed and I would occasionally listen to the album, my opinion did not waver. Fast forward to 2010 and Maiden Voyage has been re-issued by Retroactive Records with new album artwork - remixed, re-mastered and partially re-recorded in the process - and Robert Sweet (Stryper) on drums. When I first heard of the re-issue, I got a sinking feeling in my stomach - you know, the kind you get when you enter the dentists office to get a root canal done - knowing I was going to have to put together a review. Needless to say, I decided it would be best to approach the project with an open mind and give it the fair opportunity it deserves. And you know what? This turned out a good thing in that upon first listen to the re-issue I was blown away. Why? How? Well, it all starts with the remix and re-mastering. Credit goes to Main Line Riders guitarist Cliffy, who completed the re-mastering, for giving the project a much needed facelift. What was once a distractingly muddy production has turned into a strength in that Maiden Voyage now sports a clean and crisp sound void of the murkiness characteristic to the original. The drums (more on this later) project added punch while the full and abundant rhythm guitar mix is of the type reserved for the most professionally produced releases. After comparing to the original re-issue, it is this reviewers opinion all rhythm guitar tracks were re-recorded from scratch (the difference is that staggering). The second deciding factor, of course, is Robert Sweet, who literally breathes new life into the material with a performance both powerful and creative (a drum machine was used on the first release). The guy, for a lack of better words, really let's loose throughout the project with the end result an overwhelming difference. I will let Cliffy expand further on the matter: "If you ever thought drums don't make a difference then I invite you to check this out and prove to yourself how wrong you were. Robert makes such a difference on this album that you'll swear you've never heard it before." So how do these improvements impact the songs, which I previously described as "sub par", "repetitious" and "boring"? While hindsight is twenty-twenty, in looking back I was misinformed to be critical of the albums material in that the fault did not lie with the songwriting but rather the production and (programmed) drums. And now that these latter two areas have been corrected, the songs can be seen in their proper light: full of energy and oozing with emotion while not forsaking hooks in the process. Songs I found repetitious on the 1996 release - "Nightmare", "You've Got Nothing On Me", "Gods Of War", "And The Dead Shall Rise" and "Freak Show" - now come to life with stronger chorus hooks and meatier riffs you can sink your teeth into. "Ocean Of Blood" and "Hollywood Blvd", the only two from the original I liked, are that much better. The albums remaining materia

Product details

• Product Dimensions ‏ : ‎ 5.6 x 0.4 x 4.9 inches; 4 ounces
• Manufacturer ‏ : ‎ Retroactive Records
• Original Release Date ‏ : ‎ 2010
• Run time ‏ : ‎ 40 minutes
• Date First Available ‏ : ‎ February 6, 2010
• Label ‏ : ‎ Retroactive Records
• ASIN ‏ : ‎ B0037EREQ4
• Number of discs ‏ : ‎ 1
• #228,900 in Rock (CDs & Vinyl)
• #290,071 in Pop (CDs & Vinyl)

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Cities [ edit ]

• 48.483333 135.066667 1 Khabarovsk — the capital and major regional center (population 570,000)
• 50.55 137 3 Komsomolsk-on-Amur — a good sized city that is the steel center of Far Eastern Russia
• 59.383333 143.3 4 Okhotsk — First Russian settlement in the Far East (17th Century) and former headquarters of Vitus Bering, discoverer of the Bering Strait and Alaska; located in the region's far north
• 53.15 140.733333 5 Nikolaevsk-on-Amur
• 49.083333 140.266667 6 Vanino
• 48.966667 140.283333 7 Sovetskaya Gavan
• 48.748889 135.646111 8 Sikachi-Alyan — a small village of the Nanai people with a museum of local culture, opportunities for fine Nanai dining, and 13000 year old Nanai cliff drawings

Other destinations [ edit ]

• 57.104283 138.257106 4 Dzhugdzhursky Nature Reserve
• 48.204944 134.858911 5 Bolshekhekhtsirsky Nature Reserve
• 48.10582 135.136973 7 Vladimirovka , located miles and miles away from Komsomolsk, a native village of Negidals.

Understand [ edit ]

Geography [ edit ]

Khabarovsk Krai occupies a long swathe of Russia's Pacific coastline, a full 2000 kilometers of it, going as far south as Sakhalin and north to Magadan Oblast . At nearly 800.000 km², it's Russias fourth largest province. In the north, taiga and tundra prevail, deciduous forests in the south, and swampy forests in the central areas around Nikolaevsk-on-Amur . As a testament to its size there are more than 50 thousand lakes to fish in, more rivers and streams than you would care to count, and several mountain ranges intersect the region, including the northern reaches of the Sikhote-Alin mountains shared with Primorsky krai. The highest point is Mount Bery, towering nearly in fact, three quarters of the area is occupied by mountains and plateaus.

Biodiversity [ edit ]

The diversity of purely North animals like brown bear and sheer South representatives like Eastern softshell spiny turtle (Trionix) is backed by the legend that God would mix the rest of seeds and animals when somebody told him about missing spot on Earth.

One can encounter pine-tree and wild Far-Eastern grape which came definitely from the South. Its blue round berries with sour taste are cultivated in gardens to produce home wine.

Like Trionix many species are listed in the Red Book.

Culture [ edit ]

Japanese director Akira Kurosawa's 1975 film Dersu Uzala, based on a book by Russian explorer Vladimir Arsenyev, describes the friendship of a Russian explorer and his Nanai guide named Dersu Uzala. (Wikipedia)

Aboriginal culture within small enclaves across the krai are Nanai, Ulchi, Manchur, Orochi, Udege, Negidal, Nivkhi, Evenki and varies in each settlement.

Facts [ edit ]

Talk [ edit ].

See Russian phrasebook .

Get in [ edit ]

Khabarovsk is a major transportation hub for the entire Russian Far East and will likely be any visitor's first stop by either the Trans-Siberian Railway or via Khabarovsk's international airport ( KHV  IATA ).

From China there are two entrance routes: one begins on the border with the Heihe - Blagoveshchensk crossing point, the other from Fuyuan town on Amur river. Another possible way is one from Sakhalin, where international ferry operates between Russian Korsakov and Japan's Wakkanai . A one-night bus trip along the federal highway Vladivostok-Khabarovsk is an option for a traveller, if the train carriage by some odd reason is not preferable.

Do [ edit ]

Fishing and hunting in the wild are the major attractions for local villagers, town and city dwellers as well as trekking routes to taiga plains and mountains untouched by humans are favourite activities for all sorts of tourists. Khabarovsk and Komsomolsk mountain bike clubs are all at it. Taiga forest roads are always abuzz with mosquitos in summer and the best seasons for visiting are May and September when the air is not so stifling and the sun is just warm. Winter attracts regional skiers and snowboarders to the ski bases "Holdomi" and "Amut Snow Lake" near Komsomolsk and "Spartak" slopes near Khabarovsk.

Eat [ edit ]

Local food follows traditional Russian cuisine featured with salted bracken, mushrooms, Korean and Chinese and even European dishes served in theme restaurants of two big cities. Don't forget to taste pancakes with a spoonful of linden, wildflower, buckweat honey or a season caviar stuffing.

Stay safe [ edit ]

Snakes and bears are rare attackers in the wild, lest provoked. More dangerous are infectious ticks which are active most of all in spring. Use spray against ticks.

Go next [ edit ]

Khabarovsk is the hub for regional air travel with important flights to Russian destinations Anadyr , Irkutsk , Krasnoyarsk , Magadan , Moscow , Petropavlovsk-Kamchatsky , Yakutsk , and Yuzhno-Sakhalinsk , as well as international flights to Niigata , Japan and to Seoul , Korea . There are no direct flights to/from the US .

The next major stops to the east on the Trans-Siberian Railway are Ussuriysk and Vladivostok ; to the west, Birobidzhan .

There is a regular ferry from Vanino (the terminus of the Baikal-Amur Mainline ) to Kholmsk , Sakhalin .

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Khabarovsk: A Mediterranean Dream in Russia

Khabarovsk Bridge across the Amur River. Source: Itar Tass

Sparkling new cathedrals that blend in with fine 19th century architecture, a thriving cultural scene, and the proximity of the Taiga make this city on the great Amur River one of the most diverse in Russia.

With traces of some of the great cities of the Baltic Coast, you’d easily be mistaken for thinking you are 8000 kilometres away from the Russian Far East, but just 30 kilometres separate Khabarovsk from Manchurian China. There is, however, no hint of Asia in this city of 620,000, the last major stop on the Siberian railroad before Vladivostok.

Founded in 1858, everything from its broad tree-lined avenues, pre-Soviet heritage buildings, trams, quaint cafes, squares with fountains and a buzzing riverside, is redolent of Europe.

The city has a laidback Mediterranean feel in the summer, with sun-bathers thronging the riverside beaches to work on their tans. While summers are even hotter and more humid than those in Mumbai, temperatures plunge sharply in the winters and average around minus 30 degrees Celsius. If you like, you can take long walks on the frozen Amur river.

Famous for its ornate fountains, the city’s Lenin Square attracts hordes of skaters, local artists and families in the evenings. In the winters, the square hosts ice sculpture festivals and one of the largest New Year trees in the region.

Khabarovsk is just the perfect city you can explore through leisurely walking. Another relaxed way to savour life in the city is to take its trams, which connect the city centre to many outlying areas.

While walking through the Muravyova-Amurskovo Street, you encounter fine brick buildings from the 19th century as well as pre-Russian Civil War architecture that has been painfully preserved by the proud administration of the city. 

Lenin Square in Khabarovsk.   Source: Itar Tass

The city literally breathes history. The Muravyova-Amurskovo Street, for example, has five museums. The regional history museum is probably the best in the Russian Far East and showcases the culture of the indigenous people of the region, besides an excellent section dedicated to the Russian Civil War. The brick building was built in 1894 and lived to tell the tale of the brutal war between the Reds and the Whites.

While the city is proud of its Soviet past, with several monuments dedicated to the USSR and the partisans, who fought against foreign armies, there has also been a religious renaissance in Khabarovsk. Viktor Ishaev, a former governor, played a large role in the reconstruction of Russian Orthodox Churches, destroyed during Stalin’s purges. The imposing Uspenya Bozhey Matery (Divine Mother of God) Cathedral is one such replica and is just above the riverfront.  The city is home to the largest Orthodox Church in the Russian Far East: the golden-domed Church of the Transfiguration, which is probably the most visible building one sees from the aircraft, while landing in the city.

A stone’s throw away from the Transfiguration church is the majestic World War II memorial. It stands as a testament to the patriotism of the citizens of the Russian Far East, who lost their lives in the war against Nazi Germany, thousands of kilometres away from their hometown.

Most of the city’s attractions are close to the riverside, including a central park that stretches for about 1.5 kilometres to a hill top from where you get the best views of the city. The city owes its existence to Count Nicholai Muravyov-Amurskiy, and there’s a large statue of the founder, who was the governor general of Eastern Siberia. The area around the statue is a favourite spot for couples and when it comes to romantic settings, very few places in the country can match the sight of an autumn full moon over the Amur River, reflecting on the golden domes of a nearby cathedral.

The riverside is buzzing with activity, and has several cafes and restaurants with live rock bands performing late into the night.  There are also several hydrofoil services for those that want to cruise the Amur. A 90-minute cruise is a wonderful way to observe the illuminated riverside architecture at night, but there are longer cruises north to the cities of Komsomolsk-na-Amure and Nikolayevsk-na-Amure. These cruises are a great way to explore some of the most stunning and sparsely populated areas in all of Russia.

The park of Khabarovsk.   Source: Lori Legion Media

The Great Outdoors

No trip to Khabarovsk is complete without a picnic in the forests near the city. Many residents of the city have summer cottages or ‘dachas’ in an area called Voronezh-1, an ideal place for a barbeque, beer and folk music. There are several forest trails in the area, which is strikingly beautiful in the autumn.

However, those seeking adventure head straight for Peak Heksir, which is only about 970 metres above sea level but is a difficult trek through thick forests. The great Ussuriskaya Taiga begins in this forest, which is home to the Amur Tigers, the largest tigers in the world. The tigers have the advantage of camouflage in the autumn, but can be spotted in the winter, when blankets of snow envelop the mountain range. The forests are also inhabited by the Amur leopards, who are incredibly difficult to spot.

The path to Heksir offers splendid views of Khabarovsk and the domes of the city’s cathedrals are visible from the peak. But the piece de resistance of Heksir is the view of the Russia-China border.  The last stretch of Russian territory is at the intersection of the Amur and the Ussuri rivers. All you can see of China is a stretch of forests and there aren’t any human settlements for miles from the border.  Special permissions need to be arranged for both Russians and foreigners to climb the peak, since it’s in a politically sensitive area.

Shantar Archipelago.   Source: RIA Novosti

Khabarovsk is also close to the isolated Shantar Archipelago, a string of islands, which are only accessible in the non-winter months. This group of 15 islands in the Sea of Okhotsk are famous for their rocky cliffs and spruce forests. The archipelago is a wildlife lover’s paradise in the summer. You can spot Bearded Seals, Bowhead Whales and the endangered Western Grey Whales. Bears are aplenty in the islands, but unfortunately, each summer, there are reports of campers getting killed by bears. Wildlife experts attribute many of these cases to reckless behaviour on the part of tourists from cities. The islands are accessible by helicopter from Khabarovsk as well as via fishing trawlers that make the most of the four months a year they have before the ice flows merge the archipelago with the mainland.

Ajay Kamalakaran was the editor of The Sakhalin Times from 2003 to 2007.

All rights reserved by Rossiyskaya Gazeta.

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