Speak Like a Child

Speak Like a Child

ASIN: B000005H44

Editorial Reviews
Amazon.com
In the midst of his stint working for Miles Davis, Herbie Hancock released two of his finest albums, 1965's Maiden Voyage and 1968's Speak Like a Child. Though the earlier disc may boast stronger players and more innovative compositions, on Speak Hancock's true lyrical sensibilities come into light. The Carter-penned "First Trip" lets Hancock loose on the ivories, "Goodbye to Childhood" is meditative, and "The Sorcerer"--written by Hancock for Davis himself--swings. Thad Jones on flügelhorn, Peter Phillips on bass trombone, and Jerry Dodgion on alto flute all deliver impressive performances but Hancock--setting a tone for his fusion experiments to follow--steals the show. --James Hendrickson

Tracks:

Riot
Speak Like A Child
First Trip
Toys
Goodbye To Childhood
Sorcerer
Riot (First Alternate Take)
Riot (Second Alternate Take)
Goodbye To Childhood (Alternate Take)

Amazon.com

Recorded three years after his groundbreaking Maiden Voyage LP, this 1968 date features the pianist/composer leading a trio which includes his Miles Davis bandmate, bassist Ron Carter, and drummer Mickey Roker, augmented by a three-piece horn section featuring alto flute, bass trombone, and Thad Jones on flugelhorn. This unique configuration was inspired by the orchestral timbres of Gil Evans's voicings, filtered through a 1960s syncopated perspective. Remastered by the original session engineer, Rudy Van Gelder, Hancock's percussive, yet flowing pianisms are more detailed in front of the evocative woodwind arrangements. Several jazz standards flowed from this date. The maze-like "Riot" and "The Sorcerer" were both recorded by Davis--as well as the dreamy bossa nova title track. Hancock plays with his patented style of "controlled freedom," and this LP paved the way for his future forays in modern music. --Eugene Holley, Jr.

Album Description

One of the most beautiful and unusual albums in Herbie Hancock's vast discography, this 1968 set features a trio with Ron Carter and Mickey Roker supported by an unusual horn section (Thad Jones on fluegelhorn, Peter Phillips on bass trombone and Jerry Dodgion on alto flute) that does not solo but provides inventive Gil Evans-inspired voicings. Miles Davis had recorded two of these tunes ("Riot" and "The Sorcerer") the previous year, but they take on a whole different approach here. Three alternate takes, previously available only in a Hancock box set, are included on the gorgeous Van Gelder remaster.

* bonus tracks, not part of the original LP

Recorded on March 6 (#1-3, 7, 8) and March 9 (#4-6, 9), 1968 at the Van Gelder Studio, Englewood Cliffs, New Jersey

THAD JONES, fluegelhorn; PETER PHILLIPS, bass trombone; JERRY DODGION, alto flute; HERBIE HANCOCK, piano; RON CARTER, bass; MICKEY ROKER, drums

Customer Reviews:

A Timeless Record.......2006-06-19

This is it...you know when people talk about music that touches you in the inner depths of your being? This is the kind of music they're referring to. Beautiful compositions, and a virtuoso sense of playing make this album one for the ages...one people can listen to in one houndred years and still be touched in the same way. Simply put: Beautiful, Beautiful music.

Tony Williams must have been a jerk..........2006-05-25

...because I can think of no other reason not to include him on this session. Mickey Roker is a solid drummer but he is much more conservative and can't push a soloist like Williams could. And yet, Williams appeared on only three Herbie Hancock albums for Blue Note, and on only one Wayne Shorter session, even though the three of them were making incredible music with Miles Davis at the time. Perhaps Williams represented a specific sound, something too close to Miles, and the sidemen of the Second Great Quintet wanted to make their own personal musical statements. But still, that didn't stop Shorter from hiring Hancock and bassist Ron Carter for multiple sessions...

Anyway, the music at present definitely succeeds at being different than Miles' music of the time in that Hancock takes a more measured, orchestral approach to his arrangements, using his three horn players mostly for color. Still, beyond the somewhat advanced arrangements, this is more conservative than what Hancock was doing with Miles at the time, almost becoming standard issue hard bop on tunes like "First Trip," although it's *good* almost hard bop and Hancock's unorthodox sense of melodic line saves the tune from getting too "inside." Then the title track is beautiful, even if the rock pulse makes it sound slightly dated. Hancock's arrangements of "Riot" and "The Sorcerer" manage to be different (both thicker and, paradoxically, tamer) than the previous recordings with the Davis group. Hancock was searching for a different sound, and he found it here, with some great arranging, but it still lacks some of the fire he was helping create with Miles. All in all, this is a good, orchestral, fairly challenging offering that spotlights Hancock's playing well. He continued to explore this sound with the superior album "The Prisoner," which seems more fully realized.

An intriguing lineup that works. .......2006-02-17

I was initially pulled in by the album cover, which jumped out at me as a vivid example of what the music might try to create. Love. Herbie's theme is explained in the liner notes and the music lived up to that mantra and the album's title fully. The lineup also jumped out at me. Having three wind instruments in the ensemble coupled with Herbie's virtuosity and the mighty Ron Carter got me wondering. I must admit, I was only partially familiar with Mickey Roker, but he impresses as well. The overall sound reminds me greatly of the dissonant Gil Evans sound prevalent on Miles Davis's collabos with him. Needless to say I love that flavor, which is why this album is such a treat. Clearly the type of recording interesting enough to make someone ask you "who is that??" Great album!

Landmark Jazz Piano Album.......2005-09-18

With two reviews on this page only awarding four stars to this exceptional recording, I'll take my cue to argue why "Speak Like a Child" deserves no less than five. What makes the title track so intriguing, in addition to the Gil Evans-inspired voicings, is the melody itself: it's more hinted at as opposed to being clearly stated, bringing the impressionism of Debussy and Ravel to mind. The crown jewel for this reviewer, though, is Ron Carter's "First Trip." Hancock's solo is a perfect fusion of bebop, funk and the blues. The lines are intricate, chromatic, and infectious, while the motivic development here is particularly marvelous, perhaps Herbie's best on record. This disc is an absolute essential for students of jazz piano in particular.

Hear This "Child" Speak........2005-08-21

"Speak Like a Child" is a Herbie Hancock release that was out of print for many years before it was rescued by Rudy Van Gelder, who remastered and reissued it in 2005. It's the followup to his classic "Maiden Voyage" and was recorded in two sessions: March 6 and March 9 in 1968. Hancock is well-supported by a talented team, with bass player Ron Carter and drummer Mickey Roker making particularly notable impressions on "Toys" and "Riot." If the latter track sounds familiar, it's because it was also recorded by Miles Davis (you can check out his own version on his 1967 album "Nefertiti," and another track, "Sorcerer" was also recorded by Miles). In addition, a three-member horn section highlights the smooth and gentle title cut, and there's some dynamic interplay between Hancock, Roker, and Carter on the breezy "First Trip." A laid-back vibe, touches of understated elegance, and a distinct air of cool makes "Speak Like a Child" such a worthy entry in Hancock's catalogue. If you missed this album the first time around, here's your second chance to experience it, in all its remastered glory.

Average customer rating:

Speak Like a Child
Herbie Hancock
Manufacturer: Blue Note Japan
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

General | R&B | Styles | Music

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ASIN: B00000JOUV
Release Date: 2004-04-27

Tracks:

Riot
Speak Like a Child
First Trip
Toys
Goodbye to Childhood
Sorcerer

Album Details

Special Limited Edition with Paper Sleeve Cover.

Average customer rating:

Speak Like a Child
Herbie Hancock
Manufacturer: Blue Note Japan
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

General | R&B | Styles | Music

Blue Note Records | Amazon.com Label Stores | Stores | Music

Jazz | Imports | Stores | Music

R&B | Imports | Stores | Music
ASIN: B000228WKG
Release Date: 2004-06-21

Tracks:

Riot
Speak Like a Child
First Trip
Toys
Goodbye to Childhood
Sorcerer

Album Details

24bit digitally remastered Japanese release.

Average customer rating:

OLD SCHOOL
Overrated
5 stars undoubtfully
Childlike and Innocent
Colorful musical palette

Speak Like a Child
Herbie Hancock
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

General | R&B | Styles | Music

General | Funk | R&B | Styles | Music

Blue Note Records | Amazon.com Label Stores | Stores | Music

General | Jazz | Indie Music | Stores | Music

Jazz Fusion | Jazz | Indie Music | Stores | Music

Modern Post Bop | Jazz | Indie Music | Stores | Music

General | R&B | Indie Music | Stores | Music
ASIN: B000005H44
Release Date: 1990-10-25

Tracks:

Riot
Speak Like A Child
First Trip
Toys
Goodbye To Childhood
The Sorcerer

Amazon.com

In the midst of his stint working for Miles Davis, Herbie Hancock released two of his finest albums, 1965's Maiden Voyage and 1968's Speak Like a Child. Though the earlier disc may boast stronger players and more innovative compositions, on Speak Hancock's true lyrical sensibilities come into light. The Carter-penned "First Trip" lets Hancock loose on the ivories, "Goodbye to Childhood" is meditative, and "The Sorcerer"--written by Hancock for Davis himself--swings. Thad Jones on flügelhorn, Peter Phillips on bass trombone, and Jerry Dodgion on alto flute all deliver impressive performances but Hancock--setting a tone for his fusion experiments to follow--steals the show. --James Hendrickson

Customer Reviews:

OLD SCHOOL.......2004-11-28

This is -shall we say-definitely "old school". This is Herbie Hancock as long time sideman for Miles Davis. This recording was released in 1968 just at the time Davis was entering the wild river of "fusion". Not that you would clearly know it from this record. On the surface SPEAK LIKE A CHILD seems like an imitation of Davis' quintet; but as the liner notes point out Hancock himself wanted to open up the confines of the typical jazz acoustic quintet.

Perhaps SPEAK LIKE A CHILD did mark a departure at the time; but in light of Hancock's future outings (especially HEAD HUNTERS) this was a rather timid step.

"Riot" doesn't have the emotional context now that it did in 1968; but this was during the famous "days of rage" when the violent civil disruptions in the inner cites provoked both fear and bewildered contempt in onlookers of the evening news. Space does not permit an in depth discussion of the whole subject of those riots; but just let it be said that to entitle any music piece as such would have produced a variety of strong emotional reactions. Hancock himself was of a more musical mind in that he was after a collision of sounds. The first few bars speak of anger but then the piece changes into a mild babble of musical thoughts. Not exactly my favorite.

Much better is "Speak Like A Child". This is a heart warming and sentimental piece with the thoughts of childhood in mind. "First Trip" and "Toys" continue in this vein until "Goodbye To Childhood". Much like "Speak Like A Child", "Goodbye To Childhood" is a sentimental piece but there is a hint of darkness that might be missed in casual listening. But this dark tone transforms the whole piece signaling the loss of innocence.

The CD ends with "The Sorcerer" which Hancock originally wrote for Miles Davis-about Miles Davis. Hancock's own take is a refreshing end to this CD and marks the future with a mysteriousness and otherworldliness not found elsewhere on the CD.

As it stands, SPEAK LIKE A CHILD can be interpreted as a journey from birth to adulthood. The title, of course, is taken from St. Paul as he wrote about -or rather suggested-that there are certain things appropriate with each stage of spiritual maturity.

Hancock himself was still a few years from emerging from Miles Davis' shadow and baptism in the hot waters of fusion. Take this as an art project a young teenager made in junior high school. It is a long way from the work and reputation Hancock would earn as one of the "old lions" he is today. But unseasoned as SPEAK LIKE A CHILD may be, there are flashes of brilliance that are fresh and exciting that can only come from the young.

Overrated.......2001-07-25

This session is usually spoken about in the same breath as "Maiden Voyage" and "Empyrean Isles". Both of those are superior to this 1968 recording, which I found dated, muddy, chaotic in spots and formless. "Speak Like A Child" is particularly dated---like a bad love theme from a late 1960s B-movie. Herbie Hancock has done better than this.

5 stars undoubtfully.......2000-06-03

Beautiful music and marvelous band. Yes Sir, essential CD.

Childlike and Innocent.......2000-03-29

Not as strong as the other recordings in Hancock's Blue Notecatalog though. Some of the music is arranged for an 8 or 9 pieceband, and some is stripped down to trio form. None of it blows me away though. The title track is a nice modal piece but not quite as impressive as "Dolphin Dance" from the previous album, which it resembles.

Colorful musical palette.......2000-03-23

Hancock's Blue Note releases "Maiden Voyage" and Empyrean Isles" rightfully have received more critical attention and acclaim than "Speak Like a Child." Still, he deserves credit with this recording for changing up his approach, broadening the sound and weaving more colors into the tapestry.

Where "Maiden Voyage" and "Empyrean Isles" provided major forums for the horn players -- Freddie Hubbard on both and George Coleman on "Isles" -- Hancock uses Thad Jones, Jerry Dodgion and Peter Phillips exclusively to add depth to the band's sound on "Child." This approach succeeds nicely for the most part, particularly on "Riot," which Hancock had contributed while with Miles Davis. Herbie also takes fleet, satisfying solos on "Toys" and "First Trip," a Ron Carter composition.

My only complaint is that on occasion the arrangements become a bit too pretty for my taste and the solos drift a bit, losing their edge. It's nowhere Muzak, but on the title cut, for example, and sections of "Goodbye to Childhood," the sound is a bit tepid, with blurred horn lines and not particularly inspired (for Hancock) piano.

Tracks:

Riot
Speak Like A Child
First Trip
Toys
Goodbye To Childhood
Sorcerer
Riot (First Alternate Take)
Riot (Second Alternate Take)
Goodbye To Childhood (Alternate Take)

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