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Bobby Hutcherson
Montara
Blue Note / Tone Poet
‘Montara is one of the great feel-good jazz albums of the 1970s, one of the great Latin jazz albums of the 1970s, and one of the great groove jazz records. Seek it out without hesitation’ (AllMusic).
‘Classic Vinyl Edition.’
‘Classic Vinyl.’
‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.
Superb organ jazz from 1965, with Grant Green, Bobby Hutcherson and Otis Finch. Latona was the Jazz Dance weapon; One Step Ahead is knockout, too. A classic Blue Note.
‘Ultimate HQ CD’ from Japan, using the same Craft transfers and mastering.
A cor-blimey line-up, and a masterpiece, recorded on the first day of spring in 1964. Dorham, Dolphy, Joe Henderson, Richard Davis, Tony Williams.
‘Classic Vinyl Series.’ ‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.
The jazz organist’s masterpiece — with Woody Shaw, Joe Henderson and Elvin Jones in 1965.
Young’s playing is steeped in the new thing — especially JC — but pulsating, intense, and sparking with a restless, propulsive creativity which would lead him to collaborations with Jimi Hendrix, Carlos Santana, Bitches-Brew Miles and co, in just a few years time.
Three brilliant compositions by Shaw — including The Moontrane, and an arrangement of Kodaly — a Joe Henderson, a Monk, and Hammerstein and Romberg’s Softly As A Morning Sunrise.
‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.
Triumphant risk-taking from 1963 — in the same group of key, reaching Blue Notes as Unity and Dialogue — showcasing the great trombonist’s own tricky, moody, shape-shifting compositions, including a strongly evocative Monk tribute. It’s thrilling to hear Lee Morgan stretch out like this; Jackie Mac really goes for it, too. Not to mention Bobby Hutcherson, Bob Cranshaw and the dazzling drumming of Tony Williams, just seventeen.
‘Classic Vinyl Series.’ ‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.
With Herbie Hancock, Reggie Workman and Joe Chambers in 1966. A rocking title track, a hard blues, some tasty bossa, and the first time out for Footprints. Unmissable.
‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.
‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.
Unmissable Jimmy Smith. With Stan The Man and Kenny Burrell, the perfect foils, in 1963.
The LP is in Blue Note Classic Vinyl series: ‘all-analogue’, mastered by Kevin Gray from the original master tapes. The ‘Ultimate HQ CD’ is from Japan, using the recent Craft transfers and mastering.
‘Classic Vinyl.’
‘Classic Vinyl.’
‘Classic Vinyl.’
Ace, key DB. ‘The perfect bridge between his spacey late-60s attempts to mimic Miles, and his tighter early-70s jazz-funk with the Mizells.’ Trumpet-tenor-flute; Duke Pearson on electric piano.
Five-star business. With James Spaulding, Freddie Hubbard, Herbie Hancock, Ron Carter and Joe Chambers, in 1965. The first side is all Hutcherson compositions — including Little B’s Poem, his lovely signature tune, written for his toddler Barry — the second all Chambers’, more abstract and reaching.
With Joe Henderson, Duke Pearson, Bobby Hutcherson.
The title-track is lengthily, meltingly gorgeous.
With Joe Henderson, Elvin Jones and Ron Carter in 1967. Arguably his greatest record as leader; a classic.
‘Classic Vinyl.’
‘Classic Vinyl Series.’
‘Classic Vinyl Series.’
From 1970 — a ten-piece including Duke Pearson and Airto, diversifying the funk innovations of Bitches Brew into sunnier, accessible, freewheeling jazz, with fresh Brazilian flavours.
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