{"id":1950,"date":"2011-02-02T09:00:33","date_gmt":"2011-02-02T07:00:33","guid":{"rendered":"http:\/\/torec.tomajazz.com\/?p=1100"},"modified":"2016-11-13T20:11:20","modified_gmt":"2016-11-13T19:11:20","slug":"tomajazz-recomienda-un-disco-maiden-voyage-herbie-hancock-1965","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-disco-maiden-voyage-herbie-hancock-1965\/","title":{"rendered":"Tomajazz recomienda\u2026 un disco: Maiden Voyage (Herbie Hancock, 1965)"},"content":{"rendered":"<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13758\" src=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2011\/02\/Maiden_Voyage_Hancock-200x200.jpg\" alt=\"Maiden_Voyage_(Hancock)\" width=\"200\" height=\"200\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2011\/02\/Maiden_Voyage_Hancock-200x200.jpg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2011\/02\/Maiden_Voyage_Hancock-150x150.jpg 150w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2011\/02\/Maiden_Voyage_Hancock-54x55.jpg 54w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2011\/02\/Maiden_Voyage_Hancock.jpg 300w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>Si <em>Kind Of Blue<\/em> de Miles Davis acerc\u00f3 el jazz modal a la primera l\u00ednea de combate, Herbie Hancock afinar\u00eda sus formas pocos a\u00f1os despu\u00e9s en <em>Maiden Voyage<\/em>, una colecci\u00f3n de originales del pianista en el que la ausencia de cambios arm\u00f3nicos fomentaba el uso de espacios entre los solistas de la sesi\u00f3n.<\/p>\n<p style=\"text-align: justify;\">Dichas, a priori, limitaciones t\u00e9cnicas aparecen de forma prominente en el <em>blues <\/em>menor \u00abThe Eye Of The Hurricane\u00bb, con inspirado acompa\u00f1amiento del l\u00edder, o en el tema que da t\u00edtulo al disco, una secuencia de acordes suspendidos (sin una nota que indique si el acorde es mayor o menor), donde Freddie Hubbard ofrece una enorme dosis de imaginaci\u00f3n. El enfoque del trompetista contrasta con el del saxofonista George Coleman, m\u00e1s tradicional en su acercamiento al estilo. Incluso temas con armon\u00edas m\u00e1s habituales en la \u00e9poca, como \u00abDolphin Dance\u00bb, incluyen secciones modales con notas pedal que dificultan la improvisaci\u00f3n basada en los c\u00e1nones de etapas anteriories, pero abren la puerta al uso de los materiales mel\u00f3dicos que acabar\u00edan siendo predominantes en esa d\u00e9cada de los sesenta.<\/p>\n<p style=\"text-align: justify;\">Especial menci\u00f3n merece la aportaci\u00f3n de la secci\u00f3n r\u00edtmica (la que en esa \u00e9poca acompa\u00f1aba a Hancock en el quinteto de Miles Davis). Tony Williams afronta el reto con decisi\u00f3n y espontaneidad, mientras Ron Carter da toda una lecci\u00f3n sobre l\u00edneas de bajo modales.<\/p>\n<p style=\"text-align: right;\">\u00a9 Adolphus van Tenzing, 2011<\/p>\n<p>Herbie Hancock, <em>Maiden Voyage<\/em>, grabado en 1965 (Blue Note)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Si Kind Of Blue de Miles Davis acerc\u00f3 el jazz modal a la primera l\u00ednea de combate, Herbie Hancock afinar\u00eda sus formas pocos a\u00f1os despu\u00e9s en Maiden Voyage, una colecci\u00f3n de originales del pianista en el que la ausencia de cambios arm\u00f3nicos fomentaba el uso de espacios entre los solistas<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-disco-maiden-voyage-herbie-hancock-1965\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1001004,"featured_media":13758,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17860,1278,5,1038,1273],"tags":[1329,5366,1487,12651,8524,7830,12696,253,1829,13,12415,15295,2004,2158,16099,77,16100,2292],"class_list":["entry","author-adolphus-van-tenzing","post-1950","post","type-post","status-publish","format-standard","has-post-thumbnail","category-adolphus-van-tenzing","category-disco","category-grabaciones","category-contenidos","category-tomajazz-recomienda","tag-1329","tag-adolphus-van-tenzing","tag-blue-note","tag-cd","tag-freddie-hubbard","tag-george-coleman","tag-grabaciones","tag-herbie-hancock","tag-hubbard-freddie","tag-jazz","tag-jazz-en-espana","tag-jazz-en-espanol","tag-miles-davis","tag-ron-carter","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz","tag-tony-williams"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2011\/02\/Maiden_Voyage_Hancock.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":10949,"url":"https:\/\/tomajazz.com\/web\/driftin-herbie-hancock-1962\/","url_meta":{"origin":1950,"position":0},"title":"Tomajazz recomienda\u2026 un tema: \u201cDriftin\u2019\u201d (Herbie Hancock, 1962) Por Adolphus van Tenzing","author":"Tomajazz","date":"11 marzo, 2014","format":false,"excerpt":"A lo largo de la historia del jazz han surgido una serie de temas protot\u00edpicos de los diversos subestilos del g\u00e9nero (\u201cConfirmation\u201d como muestra de be-bop, \u201cSo What\u201d de jazz modal, \u201cBirdland\u201d de jazz fusion). La etiqueta hard-bop cubre un campo bastante extenso, pero gran parte de sus caracter\u00edsticas quedan\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"Herbie_Hancock_-_Takin'_Off","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/03\/Herbie_Hancock_-_Takin_Off-200x200.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":56581,"url":"https:\/\/tomajazz.com\/web\/jazzx5249-herbie-hancock-driftin-takin-off-blue-note-1962-minipodcast-por-pachi-tapiz\/","url_meta":{"origin":1950,"position":1},"title":"JazzX5#249. Herbie Hancock: \u00abDriftin'\u00bb [Takin&#8217; Off (Blue Note, 1962)] [Minipodcast] Por Pachi Tapiz","author":"Tomajazz","date":"22 agosto, 2021","format":false,"excerpt":"En el minipodcast de Pachi Tapiz, JazzX5, el tema \"Driftin'\" que aparec\u00eda en Takin' Off (Blue Note, 1962), el disco debut de Herbie Hancock y que en su momento seleccion\u00f3 Adolphus van Tenzing para la secci\u00f3n \"Tomajazz Recomienda\".","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"En el minipodcast de Pachi Tapiz, JazzX5, el tema \"Driftin'\" que aparec\u00eda en Takin' Off (Blue Note, 1962), el disco debut de Herbie Hancock y que en su momento seleccion\u00f3 Adolphus van Tenzing para la secci\u00f3n \"Tomajazz Recomienda\".","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/JazzX5_249.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/JazzX5_249.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/JazzX5_249.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/JazzX5_249.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":102069,"url":"https:\/\/tomajazz.com\/web\/john-scofield-dave-holland-memories-of-home-2025\/","url_meta":{"origin":1950,"position":2},"title":"John Scofield &#8211; Dave Holland: Memories of Home (ECM; 2025) Por Pachi Tapiz [Grabaci\u00f3n de jazz]","author":"Tomajazz","date":"21 noviembre, 2025","format":false,"excerpt":"Memories of Home (ECM; 2025) es el estreno en d\u00fao de John Scofield y Dave Holland. 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Pachi Tapiz repasa la grabaci\u00f3n","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/John-Scofield-Dave-Holland-Memories-of-Home-ECM-2025-Tomajazz.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/John-Scofield-Dave-Holland-Memories-of-Home-ECM-2025-Tomajazz.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/John-Scofield-Dave-Holland-Memories-of-Home-ECM-2025-Tomajazz.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/John-Scofield-Dave-Holland-Memories-of-Home-ECM-2025-Tomajazz.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":3107,"url":"https:\/\/tomajazz.com\/web\/the-blue-note-7-mosaic-las-comparaciones-son-odiosas-ii\/","url_meta":{"origin":1950,"position":3},"title":"The Blue Note 7 Mosaic (las comparaciones son odiosas II)","author":"Tomajazz","date":"16 marzo, 2009","format":false,"excerpt":"Para conmemorar el 70\u00ba aniversario de su fundaci\u00f3n all\u00e1 por 1939 por parte de Alfred Lion y Francis Wolff, Blue Note ha planeado para 2009 diversas celebraciones. Una de ellas ha sido el lanzamiento de Mosaic por parte del grupo The Blue Note 7. Este grupo es un all-stars integrado\u2026","rel":"","context":"En \u00abGrabaciones...\u00bb","block_context":{"text":"Grabaciones...","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/textos\/grabaciones\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":13616,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-cd-the-hub-of-hubbard-freddie-hubbard-mps-1970-reed-universal-music-classics-and-jazz-2009\/","url_meta":{"origin":1950,"position":4},"title":"Freddie Hubbard: The Hub of Hubbard (MPS, 1970) [Grabaci\u00f3n de jazz] Por Enrique Farelo","author":"Tomajazz","date":"8 septiembre, 2014","format":false,"excerpt":"Tomajazz recomienda... un CD: The Hub Of Hubbard (MPS, 1910; Reed.2009) El continente,-la portada- de este disco es inversamente proporcional a la belleza contenida en el mismo. No es ni con mucho la obra m\u00e1s conocida de Freddie Hubbard, pero indudablemente es una de las mejores. \u00a1Obra maestra sin concesiones!\u2026","rel":"","context":"En \u00ab*_Enrique Farelo\u00bb","block_context":{"text":"*_Enrique Farelo","link":"https:\/\/tomajazz.com\/web\/category\/enrique-farelo\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/08\/Freddie-Hubbard-The-Hub-Of-Hubbard.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/08\/Freddie-Hubbard-The-Hub-Of-Hubbard.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/08\/Freddie-Hubbard-The-Hub-Of-Hubbard.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":2051,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-grupo-last-exit\/","url_meta":{"origin":1950,"position":5},"title":"Tomajazz recomienda\u2026 un grupo: Last Exit","author":"Adolphus van Tenzing","date":"26 marzo, 2012","format":false,"excerpt":"Last Exit fue uno de esos supergrupos tan al uso en los a\u00f1os ochenta. Lo que resulta m\u00e1s inusual es que se moviera por los territorios del free y otras vanguardias del jazz. Estaba formado por cuatro fuertes personalidades at\u00edpicas pero complementarias. Bill Laswell, productor y (fenomenal) bajista con un\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2012\/03\/Last-Exit-The-Noise-Of-Trouble-Live-In-Tokyo.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1950","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1001004"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=1950"}],"version-history":[{"count":3,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1950\/revisions"}],"predecessor-version":[{"id":13759,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1950\/revisions\/13759"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/13758"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=1950"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=1950"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=1950"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}