Mysterious. Innovative. Spellbinding. Jackie McLean’s ‘One Step Beyond’ is the first in a loose “trio” of albums that includes McLean’s ‘Destination…Out!’ and trombonist Grachan Moncur’s ‘Evolution’ as they all share quite a bit of musical DNA and personnel. I hesitate to call it them a trilogy as I’m not certain that was anyone’s artistic intent, though hearing them together in any sequence feels like a holistic listening experience. This album is extremely well-titled: McLean had heard the clarion call of Ornette Coleman and John Coltrane pushing the boundaries of modal jazz, and this session reflects McLean’s approach to coloring outside the lines. Yet it’s strongly rooted in hard-bop, and it swings like mad in many places, making it an inside/outside record that’s perhaps a bit more approachable. McLean built a unique melodic frontline (vibes, trombone, and alto) who create an atmosphere that’s otherworldly…it does feel rather “beyond,” yet somehow incredibly pleasing to the ear. Trombonist Grachan Moncur’s two compositions have an eerie, foreboding tone (“Ghost Town” particularly) that veer into occasionally dissonant territory—the band isn’t totally out to lunch here, but definitely waiting for a table. McLean’s two songs go down a bit smoother, but just a bit. McLean’s alto still retains its acidic bite, and while the structures and playing are rooted in blues/hard bop, it swings with claws unsheathed. Bobby Hutcherson is the undisputed master of the 37th Chamber of Vibraphone, wielding mallets with both astonishing fluidity and lethal consequences. Bassist Eddie Khan holds the rhythmic ebb and flow accountable. Still, he and the rest of the group are perpetually challenged by—and, more importantly, inspired by—17 year old drummer Tony Williams. Williams performance throughout is simply incredible. In particular, the dialogue between Williams and Hutcherson is MESMERIZING and sounds especially clear on this Music Matters 45RPM 2XLP edition. Recorded this day, 30 April, 1963
Mysterious. Innovative. Gripping. Endlessly fascinating. Jackie McLean’s ‘One Step Beyond’ is the first in a loose “trio” of albums that includes McLean’s ‘Destination…Out!’ and trombonist Grachan Moncur’s ‘Evolution’ as they all share quite a bit of musical DNA and personnel. I hesitate to call them a trilogy as I’m not certain that was anyone’s artistic intent, though hearing them together in any sequence feels like a “whole” listening experience. This album is extremely well-titled: McLean had clearly heard the war cries of Ornette Coleman and @johncoltrane pushing the boundaries of modal jazz, and this session reflects McLean’s desire to put his own stamp on their approach by keeping hard bop in the mix and forming a unique melodic frontline (vibes, trombone and alto) who create that mysterious atmosphere that does feel “beyond”. Trombonist Grachan Moncur’s two compositions have an eerie, somewhat dark approach and an occasional unsettling undercurrent (“Ghost Town” is well-titled) that veer into somewhat disonnant territory—the band isn’t exactly out to lunch here, but definitely waiting for a table. McLean’s two songs go down a bit smoother, but just a bit—his alto still retains its acerbic bite and the while the structures and playing are rooted in blues/hard bop, it’s swing with sharp elbows. Bobby Hutcherson wields two instruments of power: vibraphone and space. The effortlessness with which he wields both is often mind-blowing. While bassist Eddie Khan holds the rhythmic ebb and flow accountable, he and the rest of the group are perpetually challenged, underscored by, and inspired by 17 year old drummer Tony Williams. In particular, the dialogue between Williams and Hutcherson is MESMERIZING and sounds especially clear on this Music Matters 45RPM 2XLP edition. This is one helluva band, and they made one helluva record. For awhile, I was obsessed with ‘Destination…Out!’ and thought it was the best of the three. Then I got sucked into the vortex of Moncur’s ‘Evolution’ and that LP rose to the top of the heap. Guess which record is in heavy rotation now?
Roaring with the fury of a contrapuntal tornado through the metaphorical trailer park of your mind, ‘Firebirds’ will leave you in a heap of happy, smoldering rubble. This album blew me away. I’d already been pretty enamoured of Prince Lasha & Sonny Simmons debut LP ‘The Cry’ but fast forward a couple of years and add secret weapon Bobby Hutcherson and they’ve lept from terrific to dazzling. Fair warning: this is not a kick-back, easy listen. There’s often so much going on simultaneously it can take a few spins to sort it all out but trust me, it’s worth your effort. The free-bop/modal foundation takes a myriad of twists and turns, swooping and diving through avant-tinged, hard bop tunnels. It’s like riding a jazz themed roller coaster in total darkness—you just don’t know when the next sudden drop will occur, how deep it’ll go or where you’ll wind up. It’s a helluva thrill ride. As far as acquisition, this seems to be a “regional rarity”, findable in some places, absent in others. The CD seems pretty common, the vinyl less so, and digital platforms totally absent save for YouTube but you LP collectors should keep your eyes open…this one is spongeworthy (Seinfeld fans will get the reference). Prince Lasha (alto sax/flute/alto clarinet) Sonny Simmons (alto sax, English horn) Bobby Hutcherson (vibes) Buster Williams (bass) Charles Moffett (drums). Recorded 27-29 Sept 1967 and released 1968 as Contemporary S7617, stereo. First pressings have a green label, subsequent pressings have yellow or orange labels🎷
The musical partnership of Bobby Hutcherson (vibes) & Harold Land (tenor sax) had become a true brotherhood over the course of several releases on Blue Note in the 60s. All of those records are worth hearing, and most worth owning. But there’ are five additional chapters of their story told outside of @bluenoterecords, one on Cadet (the outstanding ’The Peace-Maker’), one on Jazz Music Yesterday (1990’s ‘Blow Up’ which I’ve never heard), one on Muse (1981’s ‘Xocia’s Dance’ which looks terrific but another one I’ve not heard) and two for Bob Shad’s Mainstream label, of which this one ‘A New Shade of Blue’ is the first, recorded & released in 1971. Take the already incredible dynamic duo—the Hutcherson/Land frontline—add the rhythm section from Herbie Hancock’s Mwandishi sextet (Buster Williams-bass and Billy Hart-drums) and inject some additional groove courtesy of Bill Henderson (piano/electric piano) and Mtume (congas) and you’ve got a killer line-up. Despite several online “meh” ratings (all of which I disagree with), there’s a lot to like (if not love) here. Blues, modal, hard bop, advanced soul jazz, and spiritual jazz flourishes abound, and this 2017 reissue courtesy of @wewantsounds sounds TERRIFIC. While I don’t have an original to compare, it’s a lovely gatefold with new session photos unearthed for this reissue, as well as new liner notes. The standout track is “Mtume”, previously delivered with a bit more urgency by Hutcherson/Land on Hutcherson’s ‘Head On’ LP, though the more deliberate approach here actually works beautifully. It’s a long, deep, modal journey that’s a terrific showcase into what makes the Hutcherson/Land partnership work so well. Digital/CD versions have a bonus track called “Dark Mood
A wildly enjoyable, feel-good, summertime jazz record. Bobby Hutcherson’s ‘Montara’ (originally released in 1975) manages to be energizing and relaxing at the same time—an impressive feat. This album was the “fusion” offering in the Blue Note 80th Anniversary box issued via @vinylmeplease, and a record I’d seen quite a bit in the used bins when I worked retail, but it wasn’t an album I was familiar with. I’ve had a good time getting to know it over the last few weeks. I’ll agree with the sub-genre “fusion” in that it’s an electric jazz offering, and there are Latin-jazz and jazz-rock structures cleverly woven within the framework, but this isn’t a Mahavishnu-esque chops-fest or a one-way ticket to shredsville. It’s busy where it needs to be, often due to the sheer size of the band. They say two’s company, three’s a crowd. This album is either 9 companies or 6 crowds depending on how you want to do the math. The tune “Montara” has come around a few times, with The Roots taking a remix run at it in 1996, Madlib taking another swing again in 2003, and samples show up on all sorts of hip hop albums. It’s definitely one of those grooves that gets into your head and won’t let go. Fans of the Rhodes electric piano will hail the heroic playing by Larry Nash who is a formidable presence throughout the record. A recommended sundown spin as it has a perfect evening vibe. Vinyl is a bit elusive though not impossible, but digital availability is ubiquitous. Happy Fusion Friday
The psychedelic-tinged title track is one of Duke Pearson’s greatest works. I love the way it unfolds with an air of mystery. The rest of the LP doesn’t quite raise my drawbridge to the same level. This may be an issue of timing—the tropical vibes that permeate the other tracks are inconsistent with this cold, winter New York day. I’ll spin it again come summertime and perhaps it’ll hit me differently. For the most part, once you move past the depth of the title track (which may take several listens…it’s *THAT* good) the album veers from post-bop, late night grooves to tropical excursions underscored by Brazilian rhythms (and occasional nods to the avant-garde) as the multi-talented Pearson leads a small combo on this 1968 outing. The band: Duke Pearson (piano), Jerry Dodgion (flute/alto flute—side note, it’s his flute that graces the well-known theme from ’Shaft’), Bobby Hutcherson (vibes), Sam Brown & Alexander Gafa (guitars), Bob Cranshaw (bass), Mickey Roker (drums), Carlos “Patato” Valdes & Victor Pantoja (congas/guiro). Pearson wore a lot of hats at Blue Note, arranging sessions for other artists, composing, performing and he was also an executive in an A&R capacity. His albums—particularly this one—demonstrate the breadth and scope of his abilities, particularly his preternatural understanding of which instruments in what combos played by which musicians would deliver the goods. Perhaps it’s too cold at the moment for me to appreciate the album as a whole, but I just spun the title track again and it blew my mind. This is first pressing BST 84293, stereo, VAN GELDER in the deadwax