Herbie Hancock's debut as a leader,
Takin' Off, revealed a composer and pianist able to balance sophistication and accessibility, somewhat in the vein of Blue Note's prototype hard bopper
Horace Silver. Yet while
Hancock could be just as funky and blues-rooted as
Silver, their overall styles diverged in several ways:
Hancock was lighter and more cerebral, a bit more adventurous in his harmonies, and more apt to break his solos out of a groove (instead of using them to create one). So even if, in retrospect,
Takin' Off is among
Hancock's most conventional albums, it shows a young stylist already strikingly mature for his age, and one who can interpret established forms with spirit and imagination. Case in point: the simple, catchy "Watermelon Man," which became a
Hancock signature tune and a jazz standard in the wake of a hit cover by Latin jazz star
Mongo Santamaria.
Hancock's original version is classic Blue Note hard bop: spare, funky piano riffing and tight, focused solo statements. The other compositions are memorable and well-constructed too (if not quite hit material); all have their moments, but particular highlights include the ruminative ballad "Alone and I," the minor-key "The Maze" (which features a little bit of free improvisation in the rhythm section), and the bluesy "Empty Pockets." The backing group includes then up-and-coming trumpeter
Freddie Hubbard, tenor saxophonist
Dexter Gordon, bassist Butch Warren, and drummer
Billy Higgins. All in all,
Takin' Off is an exceptional first effort, laying the groundwork for
Hancock to begin pushing the boundaries of hard bop on his next several records. [Toshiba issued a version of the album in 2003.] ~ Steve Huey