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My Point Of View (Rudy Van Gelder Edition) (1963)

""Takin' Off" was an impressive debut effort from Hancock, and this second record proved that it was no fluke. He took two risks with the album - his five original compositions covered more diverse stylistic ground than his debut, and he assembled a large septet for the sessions; the band features such stellar musicians as Donald Byrd (t), Hank Mobley (ts), Tony Williams (d), Grant Green (g), Chuck Israels (b), and Grachan Moncur III (tmb). It's a rare occasion that all musicians appear on the same track, which speaks well for the pianist's arranging capabilities. Hancock knows how to get the best out of his songs and musicians, which is one of the reasons why "My Point of View" is a captivating listen. The other is the sheer musicality of the album. Hard bop remains the foundation for Hancock's music, but he explores its limitations, finding its soulful side, its probing, adventurous leanings and its ballad side. It's a little more relaxed than "Takin' Off", but nearly as stunning." (S.T. Erlewine, Allmusic)

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Herbie (geb. 1940) Hancock

Coltrane Time (1959)

"This is a most unusual CD due to the inclusion of Cecil Taylor on piano. Although Taylor and John Coltrane got along well, trumpeter Kenny Dorham (who is also on this quintet date) hated the avant-garde pianist's playing and was clearly bothered by Taylor's dissonant comping behind his solos. With bassist Chuck Israels and drummer Louis Hayes doing their best to ignore the discord, the group manages to perform two blues and two standards with Dorham playing strictly bop, Taylor coming up with fairly free abstractions and Coltrane sounding somewhere in between. The results are unintentionally fascinating." (Scott Yanow, Allmusic)

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Bill Evans At Town Hall (1967)

"This CD (which adds three songs including a previously unreleased version of "One for Helen" to the original LP program) is a superior effort by Bill Evans and his trio in early 1966. The last recording by longtime bassist Chuck Israels (who had joined the Trio in 1962) with Evans (the tastefully supportive drummer Arnold Wise completes the group), this live set features the group mostly performing lyrical and thoughtful standards; highlights include "I Should Care," "Who Can I Turn To" and "My Foolish Heart." However the most memorable piece is the 13½-minute "Solo - In Memory of His Father," an extensive unaccompanied exploration by Evans that partly uses a theme that became "Turn Out the Stars."" (Scott Yanow, Allmusic)

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Chuck Israels

How My Heart Sings! (1962)

"Recorded in 1962, this album shows a different side of the Bill Evans Trio than that all-ballads album. Here, the eight selections have a much more mid- and even up-tempo flair. Israel appears more comfortable in these settings to be sure, as he is the kind of bassist that relegates himself deeply into the rhythm section, sublimating himself to the pianist. In Evans' own words, the band's desire was to "provide a more singing sound" in this material. This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist's trademark." (Thom Jurek, Allmusic)

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