In the headstrong jazz year 1965, lots of players were screaming “Look what I can do!” trying to grab attention by any contrived means possible. Herbie Hancock’s Maiden Voyage represents the flipside of all that: His windblown, undulating, intentionally low-key environment proceeds from the belief, acquired from Miles Davis, that a minimal setting can inspire all kinds of meaningful musical conversations. Everybody is listening carefully, and out to enhance the proceedings. There is great grace, and concision, in every gesture here, and it’s not an accident that within these discussions, there are also bold, wailing outbursts and provocations. That’s what happens when everyone involved is in pursuit of musical aptness rather than audacity.