As one of the first albums
Herbie Hancock recorded after departing
Miles Davis' quintet in 1968, as well as his final album for
Blue Note,
The Prisoner is one of
Hancock's most ambitious efforts. Assembling a nonet that features
Joe Henderson (tenor sax, alto flute),
Johnny Coles (flugelhorn),
Garnett Brown (trombone),
Buster Williams (bass), and
Albert "Tootie" Heath (drums), he has created his grandest work since
My Point of View. Unlike that effort,
The Prisoner has a specific concept -- it's a tribute to
Dr. Martin Luther King, evoking his spirit and dreams through spacious, exploratory post-bop. Often, the music doesn't follow conventional patterns, but that doesn't mean that it's alienating or inaccessible. It is certainly challenging, but
Hancock's compositions (and his arrangement of
Charles Williams'
"Firewater") have enough melody and space to allow listeners into the album. Throughout the record,
Hancock,
Coles, and
Henderson exchange provocative, unpredictable solos that build upon the stark melodies and sober mood of the music. The tone is not of sorrow or celebration, but of reflection and contemplation, and on that level,
The Prisoner succeeds handsomely, even if the music meanders a little too often to be judged a complete success. ~ Stephen Thomas Erlewine
