Excerpt from the LP liner notes:
"I idea it would live on impossible to instruct people similar Tony Williams or Ron Carter or Wayne Shorter or Freddie Hubbard inward the same room at the same time, because thus many of them are band leaders themselves. Wayne had told me after that he hadn't played that mode inward years - lots of fast 8th notes as well as long running flowing lines. This was truly at i time ahead jazz - walking bass, a swinging drum vanquish - only expressed through experiences of the musicians today. I idea of the days at Birdland when I used to sit down inward amongst Wayne Shorter, Lee Morgan or Freddie Hubbard. Freddie truly played on my root album, "Taking Off," as well as as well as then played on 'Empyrean Lsles' as well as 'Maiden Voyage.' I played on Freddie's albums, as well as it made logical sense to me to convey Freddie Hubbard on trumpet. H5N1 foreign thing happened when I went on phase amongst the root group. As nosotros started to play, I got the feeling that no affair what I would play, these musicians were thus gifted that they could brand music out of anything. The feeling of liberty that came over me was overwhelming.
The Sextet that I used to convey from 1969 through 1973, played non alone the music it had created, only all of the rattling root music from when I root left Miles Davis inward 1968, as well as got my ain band together. The Sextet has a exceptional house inward my heart. I was doing the album 'Speak Like a Child' as well as I used flugelhorn, every bit good flute as well as bass trombone every bit an experiment. The audio killed me thus much I realized, that's the audio I desire for my ain band. The most hard innovation to recapture was the Sextet, because of how it was originally built. The Sextet's rattling foundations was the intuition, empathy, teamwork, unity, as well as spontaneous inventiveness of the members of a truthful ensemble. From the belatedly sixties until 1973 nosotros had been hanging out together, studying non alone music only life. We explored together, trying to analyze the creative process. We grew on each other; nosotros became similar i as well as the music became similar one. Billy Hart had to come upwards the farthest. He was working inward London amongst Stan Getz, as well as the 29th was his i black off. Somehow he managed to wing correct from London to New York, rehearse, play the concert as well as instruct dorsum on a bird for London. When the Sextet was at its best, the whole grouping was similar a living body. It was a music of the moment, no regular changes, bars, or fifty-fifty tempo - only somehow, virtually miraculously, the music would convey a menstruation as well as guild that made me experience similar I was listening to the audio from all the planets. Trying to recapture that spirit was difficult, only it came off - it was truly swinging.
I suppose someone from the twenties or thirties wouldn't telephone phone whatever of the 3 groups Jazz. There are people today who don't telephone phone the funk grouping a Jazz group. I hear that grouping incorporating jazz as well as funk into a rattling happy marriage. The 3rd band is truly my acquaint band. At that fourth dimension I had been using Ken Nash on percussion, as well as inward add-on to Wah Wah nosotros had Ray Parker on guitar, since he had been recording amongst us. Of class Bennie Maupin was i of our sextet, as well as is withal playing amongst me now. The funk - at nowadays that music has such rigid roots inward the Earth. With all the earthiness there's ever room for flight. The biggest argue I bask playing this novel form of funk is the contrasts betwixt the broad opened upwards improvisation as well as the funky foundation at the bottom. It gives the music a grapheme that is broad, vast, yet inward touching on amongst people."
- Herbie Hancock
Track listing
- "Piano Introduction" - 4:33
- "Maiden Voyage" (Hancock) - 13:18
- "Nefertiti" (Shorter) - 5:17
- "Introduction of Players/Eye of the Hurricane" (Hancock) - 18:35
- "Toys" (Hancock) - 14:00
- "Introductions" - 1:47
- "You'll Know When You Get There" (Hancock) - 7:00
- "Hang Up Your Hang Ups" (Hancock, Jackson, Ragin) - 11:54
- "Spider" (Hancock, Jackson, Ragin) -10:12
Tracks 1-4 performed past times V.S.O.P., Tracks 5-7 performed past times Mwandishi, Tracks 8-9 performed past times the Headhunters.
Personnel
Musicians
- Ron Carter – bass
- Herbie Hancock – electrical piano
- Billy Hart – drums
- Eddie Henderson – flugelhorn, audio effects, trumpet
- Freddie Hubbard – trumpet
- Paul Jackson – electrical bass
- James Levi – drums
- Bennie Maupin – alto flute
- Kenneth Nash – percussion
- Ray Parker, Jr. – guitar
- Julian Priester – bass trombone
- Wayne Shorter – soprano sax, tenor sax
- Wah Wah Watson – guitar, synthesizer
- Buster Williams – bass
- Tony Williams – drums
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