Jazz Archives

Perhaps the single album that best sums up Bobby Hutcherson's early musical personality, Components is appropriately split into two very distinct halves. The first features four Hutcherson originals in a melodic but still advanced hard bop style, while the latter half has four free-leaning avant-garde pieces by drummer Joe Chambers. Hutcherson allots himself more solo space than on Dialogue, but that's no knock on the excellent supporting cast, which includes Herbie Hancock on piano, James Spaulding on alto sax and flute, Freddie Hubbard on trumpet, and Ron Carter on bass. It's just more Hutcherson's date, and he helps unite the disparate halves with a cool-toned control that's apparent regardless of whether the material is way outside or more conventionally swinging. In the latter case, Hutcherson's originals are fairly diverse, encompassing rhythmically complex hard bop (the title track), pensive balladry ("Tranquillity," which features a lovely solo by Hancock), down-and-dirty swing ("West 22nd Street Theme"), and the gaily innocent "Little B's Poem," which went on to become one of Hutcherson's signature tunes and contains some lyrical flute work from Spaulding. The Chambers pieces tend to be deliberate explorations that emphasize texture and group interaction in the manner of Dialogue, except that there's even more freedom in terms of both structure and tonal center. (The exception is the brief but beautiful closing number, "Pastoral," an accurate title if ever there was one.) Components illustrated that Hutcherson was not only the most adventurous vibes player on the scene, but that he was also capable of playing more straightforward music with intelligence and feeling.

:::Review by Steve Huey:::

Bobby Hutcherson - Components (1965)

1. Components 6:23
2. Tranquillity 5:01
3. Little B's Poem 5:08
4. West 22nd Street Theme 4:42
5. Movement 7:29
6. Juba Dance 5:21
7. Air 4:45
8. Pastoral 2:02

Credits
Bass - Ron Carter
Composed By - Bobby Hutcherson (tracks: 1 to 4) , Joe Chambers (tracks: 5 to 8)
Drums - Joe Chambers
Piano - Herbie Hancock
Saxophone [Alto], Flute - James Spaulding
Trumpet - Freddie Hubbard
Vibraphone [Vibes], Marimba - Bobby Hutcherson

Switching over to Blue Note, which was then reaping a fortune with Donald Byrd's R&B outfit, Eddie Henderson pursued a harder, earthier, more structured, funk-driven sound on his first album, while maintaining some of his marvelously spacier instincts for spice. Henderson continued to keep several components of the Herbie Hancock Septet together, for drummer Billy Hart, bassist Buster Williams, reedman Bennie Maupin, and now trombonist Julian Priester are back. But this time, Hancock is replaced by George Duke, and fusionaire bassist Alphonso Johnson and drummer Harvey Mason (late of the Headhunters) are added -- and these switches make much of the difference. Duke is as much of an techie as Herbie was; he delights in flaunting his Echoplex and burbling, shooting, twinkling synthesizer effects. Henderson himself is more into electronic echo and wah-wah effects than before, definitely pursuing the current Miles Davis line but in a brighter, more tonally brilliant manner, and Maupin has many impassioned and creepy (on bass clarinet) moments. The title track, a ruminative Henderson tune with a leaping funk beat, and Mason's archetypical funk workout "Hop Scotch" are the best cuts.

:::Review by Richard S. Ginell:::

Eddie Henderson - Sunburst (1975)

1. Explodition (6:34)
2. The Kumquat Kids (4:30)
3. Sunburst (5:46)
4. Involuntary Bliss (6:49)
5. Hop Scotch (3:52)
6. Galaxy (6:35)
7. We End In A Dream (3:10)

Credits
- Buster Williams / acoustic bass
- Alphonso Johnson / electric bass, effects
- Billy Hart / drums
- Harvey Mason / drums
- George Duke / electric piano, clavinet, synthesizer
- Bobby Hutcherson / marimba
- Bennie Maupin / saxophone, bass clarinet, tenor saxophone, saxcello, bass clarinet
- Julian Priester / trombone, post horn
- Eddie Henderson / trumpet, flugelhorn, cornet

Other personnel
- Fred Catero / recording and remix engineer
- George Horn / mastering
-Skip Drinkwater / producer

Notes
1975 Vinyl LP, Sunburst, United States , Blue Note BN-LA464-G
2002 CD, Sunburst [Rare Groove Series] [Remastered], United States, Blue Note 7243 5 38698 2 3
Recorded and mixed at Wally Heider Recording Studios in San Francisco in March and April 1975

Drummer Tony Williams' first recording as a leader (made when he was 18 and still billed as Anthony Williams) gave him an opportunity to utilize an advanced group of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, and both Richard Davis and Gary Peacock on bass. Williams wrote all four of the pieces and has a different combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, and Williams in some colorful and at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock and Williams in a trio; and all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a very strong debut for the masterful drummer.

:::Review by Scott Yanow:::

Tony Williams - Life Time (1964)

1. Two Pieces Of One: Red 8:03
2. Two Pieces Of One: Green 10:36
3. Tomorrow Afternoon 5:31
4. Memory 8:02
5. Barb's Song To The Wizard 5:56

Credits
Artwork By [Cover Design] - Reid Miles
Artwork By [Creaive Director For Rvg Series] - Gordon H Jee
Artwork By [Design For Rvg Series] - Eric Bernhardi , Michael Boland
Bass - Gary Peacock (tracks: 1 to 3) , Richard Davis (2) (tracks: 1, 2) , Ron Carter (tracks: 5)
Drums - Tony Williams (tracks: 1 to 3)
Drums [Drum Set], Percussion [Wood Block], Timpani, Maracas, Triangle - Tony Williams (tracks: 4)
Other [Original Liner Notes] - Lawrence Rutter
Other [Reissue Liner Notes] - Bob Blumenthal
Photography [Cover Photograph, Liner Photographs From The Actual Session] - Francis Wolff
Piano - Herbie Hancock (tracks: 4, 5)
Producer - Alfred Lion
Recorded By, Mastered By [Remastered By] - Rudy Van Gelder
Reissue Producer - Michael Cuscuna
Saxophone [Tenor] - Sam Rivers (tracks: 1 to 3)
Vibraphone, Marimba - Bobby Hutcherson (tracks: 4)
Written-By - Tony Williams

The companion piece to Conversations (recorded at the same mid-1963 sessions with producer Alan Douglas), Iron Man is every bit as essential and strikes a more consistent ambience than its widely varied twin. It also more clearly anticipates the detailed, abstract sound paintings of Dolphy's masterwork Out to Lunch, in large part because this time around the program is weighted toward Dolphy originals. "Iron Man," "Burning Spear," and the shorter "Mandrake" all have pretty outside themes, full of Dolphy's trademark wide interval leaps and playful sense of dissonance. Yet there's enough structure and swing to make their roots in hard bop perfectly clear, and once the front-line horns blast out the themes, the ensemble shifts into a more cerebral, exploratory mode. In the absence of a piano, Bobby Hutcherson's vibes are a crucial anchor, outlining dissonant harmonies that hang in the air almost spectrally behind the rest of the group. Most of the same musicians from Conversations appear here, including trumpeter Woody Shaw, flutist Prince Lasha, altoist Sonny Simmons, and soprano sax player Clifford Jordan. And once again, Dolphy duets with bassist Richard Davis, twice this time -- on bass clarinet for Ellington's "Come Sunday" and on flute for Jaki Byard's "Ode to C.P." Both are lovely, meditative pieces filled with conversational exchanges between the two players, illustrating what similar wavelengths they were on. Between Conversations and Iron Man, split up the way they are, one has to give a slight edge to the latter for its more cohesive presentation, yet these are classic sessions in any form and constitute some of the most brilliant work of the early-'60s avant-garde.

:::Review by Steve Huey:::

Eric Dolphy - Iron Man (1963)

1. Iron Man (9:09)
2. Mandrake (4:45)
3. Come Sunday (6:26)
4. Burning Spear (11:54)
5. Ode To C.P. (8:08)

Credits
Bass - Eddie Kahn , Richard Davis
Drums - J.C. Moses
Flute - Prince Lasha
Saxophone [Alto] - Huey Simons
Saxophone [Alto], Clarinet [Bass], Flute - Eric Dolphy
Saxophone [Soprano] - Clifford Jordan
Trumpet - Woody Shaw
Vibraphone - Bobby Hutcherson

Augmenting his rhythm section of bassist Richard Davis and drummer Elvin Jones with vibraphonist Bobby Hutcherson, pianist Andrew Hill records an excellent set of subdued but adventurous post-bop with Judgment. Without any horns, the mood of the session is calmer than Black Fire, but Hill's compositions take more risks than before. Close listening reveals how he subverts hard bop structure and brings in rhythmic and harmonic elements from modal jazz and the avant-garde. The harmonic structure on each composition is quite complex, fluctuating between dissonant chords and nimble, melodic improvisations. Naturally, Hill's playing shines in this self-created context, but Hutcherson equals the pianist with his complex, provocative solos and unexpected melodic juxtapositions. Jones shifts the rhythms with style, and his solos are exceptionally musical, as is Davis' fluid bass. The combination of the band's intricate interplay and the stimulating compositions make Judgment another important release from Hill. It may require careful listening, but the results are worth it.

Jones performs by courtesy of Impulse Records.
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ; January 8, 1964.

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.

Notes

Recorded on February 25, 1964.