A lost set of work from the team of Bobby Hutcherson and Harold Land – recorded right around the same time as their famous San Francisco album! The album's overflowing with the soulful, righteous tones the pair could create together – sublime vibes from Hutcherson, both tenor and flute from Land – and a top-shelf supporting cast that includes Stanley Cowell on piano, Reggie Johnson on bass, and Joe Chambers on drums! Like others of this nature, Blue Note never issued the material at the time – but wisely released it as an album at the start of the 80s – a great contribution to Hutcherson's catalog for the label – of which we can never get enough! Titles include "Ungano", "Avis", "Comes Spring", and "Orientale". CD

Genius, pure genius! This album's possibly the most perfectly realized set from the team of Bobby Hutcherson on vibes and Harold Land on reeds – a pair who hit territory that's slightly funky, but which is also still touched by the modal spiritualism of some of their earlier work together! The album has an approach that we've not heard on other sides from the time – in that it takes its time to build the grooves up slowly, layering element over element as the songs unfurl, crafting some killer numbers that make the album incredibly strong as a whole. Land plays flute and tenor, and even a bit of oboe, which makes for a wonderfully compelling reed sound – and the group also features Joe Sample on Fender Rhodes, on loan from The Crusaders, plus Fender bass from John Williams and drums from Mickey Roker. Titles include the classics "Ummh" and "Goin' Down South", which have been made famous over the years, thanks to the magic of sampling technology – plus the tracks "Jazz", "Night In Barcelona", and "Procession". CD

A relatively mellow recent effort from Bobby Hutcherson – one that has him playing both vibes and marimba, and going for a laidback style that allows plenty of spaces for tonal colors and shades of sound! The group's a quintet, with Kenny Garrett on alto, Geri Allen on piano, Christian McBride on bass, and Al Foster on drums – and in a way, the album's kind of a link between Hutcherson's inside work of the Landmark years, and some of his more exploratory work of the late 70s. Titles include "The Coaster", "Candle", "Tres Palabras", "Delilah", "Who's Got You", and "Pomponio". CD

Sweet 70s grooves from Bobby Hutcherson – an overlooked mid 70s gem for Blue Note – done in a style that's a bit more laidback than some of his other work for the label! The group here is similar to that used on the Waiting album – and Emmanuel Boyd turns in some great tenor and soprano sax, really underscoring the deeper sounds of Bobby's vibes. But this time around, there's also lots of sweet keyboards from Larry Nash – who plays Fender Rhodes with some warmer elements that unlock a great mellow side of Hutcherson's playing – almost giving the record a Roy Ayers vibe at times! Titles include "Later Even", "Same Shame", "Love Can Be Many Things", and "Song For Annie". CD

Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes! In addition to work from Land on tenor and flute, the set also has the great Woody Shaw on trumpet – plus Bill Henderson on Fender Rhodes, Emanuel Boyd on tenor, Ray Drummond on bass, Larry Hancock on drums, and Kenneth Nash on percussion – a rhythm player who really helps give the record some hip Strata East-like touches. Titles include a sublime reading of Shaw's "Rosewood" – plus "Zuri Dance", "Wrong Or Right", "Even Later", and "Cirrus". CD

A great title for this album from Bobby Hutcherson – given the way he commands such great tones from his work on the vibes! The album's a real gem from his Landmark Records years – that great back-to-basics point when Bobby was almost doing more by doing less – especially in a record with understated brilliance like this. The group's a warmly sensitive one – with Mulgrew Miller on piano, John Heard on bass, Airto on percussion, and Billy Higgins on drums – a perfect rhythmic accompaniment for Hutcherson's hip vibes. Titles include "Rosemary Rosemary", "Remember", "Never Let Me Go", "Recorda Me", "Bemsha Swing", and "Whisper Not". LP, Vinyl record album

One of Bobby Hutcherson's most important albums ever – and an essential piece of "new thing" jazz that ranks up there with such key Blue note sessions of the genre as Tony Williams' album Life Time, Dolphy's Out To Lunch, and Jackie McLean's One Step Beyond! Hutcherson's sound on the vibes is amazing – metallic, yet melodic – in a sublime blend of the modern and the soulful, all wrapped up in tones and colors that few other players have ever managed to get from the instrument! All the other players on the session really rise to the occasion too – and the album features tremendous work from Sam Rivers, Freddie Hubbard, Andrew Hill, and Joe Chambers. Titles include "Ghetto Lights", "Catta", and "Idle While". LP, Vinyl record album

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

Beautiful late Blue Note work from vibist Bobby Hutcherson – laidback, warm, electric, and with a mixture of CTI funk and some of the more lyrical soul jazz work of his years with Harold Land! Part of the credit for the set should go to George Cables – who plays both acoustic and electric keys on the record, and who gives the album a sweetly dancing feel that really warms things up wonderfully – a great mix of vibes and keyboards that's wonderful throughout! But all other players are wonderful too –including drummer Eddie Marshall, bassist James Leary, and horn players Freddie Hubbard, Hadley Caliman, and Manny Boyd. Titles include a great remake of "Little B's Poem", the mellow groover "Why Not", and the cuts "Til Then", "Knucklebean", and "So Far So Good". CD

A beautiful later Blue Note album from vibist Bobby Hutcherson – a set recorded after his famous association with Harold Land, but with a groove that's wonderfully soulful in a whole different way! Bobby plays marimbas instead of vibes this time around, and he's working with his own arrangements for a slightly larger group – one that has some sweet fusion overtones, and these wonderful mellow funk inflections – so that even the mellow cuts have this warmly glowing, ultra-soulful sound that's mighty nice – a bit like some of the work from Gene Harris around the same time. Other players include Jerry Peters on Fender Rhodes, who also helped out with the arrangements – plus Harvey Mason on drums and Ernie Watts on reeds – and a few tracks feature sweet backing vocals from The Waters. The highlight here is a nice moody extended version of "People Make The World Go Round", but all cuts are great, and titles include "Silver Rondo", "Manzanita", "NTU", and his dark cover of "Theme From MASH". CD

Features Hutcherson on vibes, Tommy Flanagan on piano, Peter Washington on bass, and Billy Drummond on drums! CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

A really heady set of tracks from vibist Bobby Hutcherson – a record that has him stepping away from the harder sounds of his early modern years – and moving into the sublime mix of soulful and modal styles that would really grow strongly by the end of the 60s! The album's a treasure through and through – warm, subtle interpretations of the music by a group that features Hutcherson on vibes, James Spaulding on alto and flute, Stanley Cowell on piano, Reggie Workman on bass, and Joe Chambers on drums – all working together in modes that are quite like Hutcherson's music with Harold Land – but slightly looser and freer at points too. The album includes a fantastic version of Cowell's "Effi", which was later recorded by Charles Tolliver a few times, plus other beautiful compositions by Joe Chambers – including "Patterns", "Ankana", "Irina", and "Nocturnal". Also features a bonus alternate of the title track! CD

An unusual set that combines tracks from the great Bobby Hutcherson LPs, Cirrus and Linger Lane. "Even Later" and "Wrong Or Right" are off Cirrus, recorded at the tail end of the his association with Harold Land, and features the sort of wonderful spiralling modal work that group was known for. The other three numbers, "Manzanita", "Silver Rondo" and "Theme From MASH" feature Bobby on marimba, and a have a nice, wide open, spacious sort of vibe! LP, Vinyl record album

Bobby Hutcherson breaks it down in two different ways – solo on the first half of the record, and in a quartet on the rest! The set begins in a very spare way – Bobby playing vibes, marimba, xylophone, and bells – often a bit overdubbed, so that although alone, Hutcherson fills the tracks with a rich palette of sound – glowingly rhythmic lines that ring out with plenty of soul, and showcase a really under-tapped side of Bobby's talents! Remaining tracks are equally great, but in a totally different way – played by a righteous lineup that includes McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums – really working together beautifully in ways that make the album feel like a lost 70s soul jazz set. Forget Hutcherson's slick look on the cover – because this album's drenched in open, honest, acoustic feeling – a rich tapestry of sound and emotion, on tracks that include "Gotcha", "The Ice Cream Man", "For You Mom & Dad", "Messina", "My Foolish Heart", and "La Alhambra". CD

The sticks are up, and Bobby Hutcherson is at the top of his game – hitting a whole new groove here in this sublime session of modal numbers for Blue Note – a slightly warmer set than his more modern albums of the "new thing" years, and a great indication of the directions he'd take in the 70s! Bobby's vibes are set up wonderfully here in a quintet that includes Joe Henderson on tenor sax, McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums – all players who bring key elements to the groove. Tyner's got an obvious ear for the modal rhythms that Hutcherson's heading for; Higgins' drum work is freely lyrical in all the best ways; and Henderson's horn sharpens the edges of the tunes a bit, bringing in some nice darker sounds. The kickoff track is an amazing modal reading of Ornette's "Una Muy Bonita", and the rest tracks are all Hutcherson originals, including "Summer Nights", "8/4 Beat", "Black Circle", "Verse", and "Blues Mind Matter". LP, Vinyl record album

A surprisingly great album by Bobby Hutcherson – and like his other albums for Columbia, a record that manages to be smooth, yet still has an edge! The format's bigger and more ambitious than previous years, but it's also an extension of the modal soulful style he forged with Harold Land – a really stretched out approach to the vibes that differs nicely from his 60s work, and which has some really soulful touches throughout. The group features George Cables on electric and acoustic piano, John Abercrombie on guitar, and Peter Erskine on percussion – but the real strength of the set is Bobby, who slides between vibes and marimba with a skittish energy that really cracks a lot of life into the set. Titles include "Un Poco Loco", "Ivory Coast", "The Sailor's Song", "Ebony Moonbeams" and "I Wanna Stand Over There". LP, Vinyl record album

A great little collection of hip 70s soul jazz tunes – recorded for the Mainstream level by a few different groups, but all united with a spirit of freedom and soulful exploration. Titles include "Dark Mood" by a group with Bobby Hutcherson, Harold Land, Mtume, and Buster Williams; "Quien Sabe" by Hadley Caliman, Larry Vuckovich, and others; "Miscegenation" by Buddy Terry, Woody Shaw, Eddie Henderson, and Joanne Brackeen; and "Valerie" by Blue Mitchell, Herman Riley, and Joe Sample. LP, Vinyl record album

An overlooked later Blue Note gem – sweet duets between the vibes of Bobby Hutcherson and piano of McCoy Tyner! CD

With some great vibes and marimba from Bobby Hutcherson! CD

Keystone bop indeed – a smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hardbop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. The CD presents all tracks in long, unedited takes – and this Friday/Saturday Night volume features 4 tracks – "One Of Another Kind", "Round Midnight", "Red Clay", and "First Light". CD

An essential Blue Note album by the great vibist Bobby Hutcherson, and a record that's split into 2 different sides, each of which display different aspects of Hutcherson's talents. The first four tracks are mellow and lyrical, with the kind of lovely melodic writing that is best illustrated by the cut "Little B's Poem" – included here, and still one of Hutcherson's most enduring works. The next four tracks show Hutcherson more as the accomplished modernist, working with edgey talents like James Spaulding on alto and flute, Freddie Hubbard on trumpet, Herbie Hancock on piano, Ron Carter on bass, and the great Joe Chambers on drums – who also wrote all 4 of the tracks in this segment. The work is a key example of Hutcherson's devotion to the Blue Note "new thing" sound, and titles include "Air", "Juba Dance", and "Pastoral". CD

An essential Blue Note album by the great vibist Bobby Hutcherson, and a record that's split into 2 different sides, each of which display different aspects of Hutcherson's talents. The first four tracks are mellow and lyrical, with the kind of lovely melodic writing that is best illustrated by the cut "Little B's Poem" – included here, and still one of Hutcherson's most enduring works. The next four tracks show Hutcherson more as the accomplished modernist, working with edgey talents like James Spaulding on alto and flute, Freddie Hubbard on trumpet, Herbie Hancock on piano, Ron Carter on bass, and the great Joe Chambers on drums – who also wrote all 4 of the tracks in this segment. The work is a key example of Hutcherson's devotion to the Blue Note "new thing" sound, and titles include "Air", "Juba Dance", and "Pastoral". LP, Vinyl record album

A beautiful little session from Bobby Hutcherson – recorded live as a tribute to the legendary Keystone Korner jazz club in San Francisco – but even more important as a later meeting between Bobby and saxophonist Harold Land! The vibe here is a bit different than previous Land/Hutcherson albums – not as tightly righteous, but still tremendously soulful – gliding along with an energy that's always soaring and searching, but never in a way that's nervous or undirected. Other players include Oscar Brashear on trumpet, Cedar Walton on piano, Billy Higgins on drums, and Buster Williams on bass – a perfectly-matched lineup that sets each tune on fire with their imagination. Titles include "Rubber Man", "Starting Over", "Crescent Moon", "Short Stuff", and "Prism". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

A wicked post-Blue Note session from Bobby Hutcherson – one that's put together in a different way than his previous work, but still completely sublime throughout! The feel is almost to Hutcherson's earlier work what Woody Shaw's Columbia recordings were to his – tighter, with sharper production – yet still wonderfully soulful and with a strong sense of spirit. Key soloists include Freddie Hubbard on trumpet and Hubert Laws on flute – and the record also features George Cables on acoustic and electric piano, Cedar Walton on acoustic piano, and Eddie Marshall on drums. Includes the lovely "Sweet Rita Suite", plus "Circle", "Secrets Of Love", and "Bouquet". LP, Vinyl record album

A subtle gem from Bobby Hutcherson's wonderful years on Landmark Records – a point when he was really getting back to basics, and cutting some great straight work that almost hearkened back to his 60s gems on Blue Note! The set's recorded live at the Village Vanguard – and Bobby swings soulfully in a great quartet with Kenny Barron on piano, Buster Williams on bass, and Al Foster on drums. Hutcherson's playing both vibes and marimba – and the scope of his playing here has both grown from earlier years, awash with tones, colors, and light – which Barron and Williams are only happy to fill in more deeply. Titles include "I Wanna Stand Over There", "Little Niles", "Estate", "Well You Needn't", and "Young & Foolish". LP, Vinyl record album

A subtle gem from Bobby Hutcherson's wonderful years on Landmark Records – a point when he was really getting back to basics, and cutting some great straight work that almost hearkened back to his 60s gems on Blue Note! The set's recorded live at the Village Vanguard – and Bobby swings soulfully in a great quartet with Kenny Barron on piano, Buster Williams on bass, and Al Foster on drums. Hutcherson's playing both vibes and marimba – and the scope of his playing here has both grown from earlier years, awash with tones, colors, and light – which Barron and Williams are only happy to fill in more deeply. Titles include "I Wanna Stand Over There", "Little Niles", "Estate", "Well You Needn't", and "Young & Foolish". Includes CD only bonus track "Young & Foolish". CD

One of the greatest lost sessions ever! Legendary vibist Bobby Hutcherson recorded this set of tracks in his early days with Blue Note – but the set's never come out until now, and its release is cause for rejoicing! The material shows Hutcherson playing in a straight-ahead format, tinged with some of the modernist new thing elements of other recordings from the time, but mostly filled with a soulfulness not always heard on his Blue Note albums at the time. The group includes Duke Pearson on piano, whose lovely lyrical approach works perfectly with Hutcherson's vibes. Joe Henderson plays some great hard-edged tenor, cutting nicely through all the tracks – and Grant Green sits in on half of the material, playing some nice spiralling modal lines on guitar. Many of these titles have been recorded in other versions on later Blue Note albums – but they're all in fantastic versions here, including "Bedouin", "The Kicker", "Step Lightly", and "Mirrors". CD

Beautiful late Blue Note work from Bobby Hutcherson – laidback, warm, electric, and with a mixture of CTI funk and some of the more lyrical soul jazz work of his years with Harold Land! Part of the credit for the set should go to George Cables – who plays both acoustic and electric keys on the record, and who gives the album a sweetly dancing feel that really warms things up wonderfully – and all other players are wonderful too, including drummer Eddie Marshall, bassist James Leary, and horn players Freddie Hubbard, Hadley Caliman, and Manny Boyd. Includes a great remake of "Little B's Poem", the mellow groover "Why Not", and the cuts "Til Then", "Knucklebean", and "So Far So Good". LP, Vinyl record album

Features Hutcherson on vibes, Tommy Flanagan on piano, Peter Washington on bass, and Billy Drummond on drums! CD

Vibes and orchestrations – a combination that makes for one of the coolest Bobby Hutcherson albums of the 70s – a really magical set that expands the sound of Bobby's work in ways we wouldn't have expected! The style is similar to that used with Grant Green and Lou Donaldson at the time on Blue Note – a style that's clearly trying for the more sophisticated sounds of CTI, and which beautifully balances the modes of presentation – so that there's still plenty of soulful moments and slyly funky bits alongside the strings and woodwinds in the orchestrations – proof that a record like this can be really brilliant if scored properly! Some moments get a bit modern and dark – almost in a William S Fischer kind of way – and titles include the great track "Rain Every Thursday", which begins with an excellent break – plus "The Folks Who Live On The Hill", "Sophisticated Ladies", "When You're Near", "Shirl", and "Lush Life". CD

Genius, pure genius! This album's possibly the most perfectly realized set from the team of Bobby Hutcherson on vibes and Harold Land on reeds – a pair who hit territory that's slightly funky, but which is also still touched by the modal spiritualism of some of their earlier work together! The album has an approach that we've not heard on other sides from the time – in that it takes its time to build the grooves up slowly, layering element over element as the songs unfurl, crafting some killer numbers that make the album incredibly strong as a whole. Land plays flute and tenor, and even a bit of oboe, which makes for a wonderfully compelling reed sound – and the group also features Joe Sample on Fender Rhodes, on loan from The Crusaders, plus Fender bass from John Williams and drums from Mickey Roker. Titles include the classics "Ummh" and "Goin' Down South", which have been made famous over the years, thanks to the magic of sampling technology – plus the tracks "Jazz", "Night In Barcelona", and "Procession". CD

Moody material from Bobby Hutcherson – and one of the first records to feature his vibes in the company of tenorist Harold Land – a player who would help Hutcherson make some mighty fine music over the years! The set's got a super-hip group – with Stanley Cowell on piano, giving the record a warm, spiritual undercurrent – one that works perfectly with the lyrical soul of Land's horn. Other players include Reggie Johnson on bass and Joe Chambers on drums – and titles include "Spiral", "Ruth", "Poor People's March", and "Visions". The album also includes one more track – "Jasper" – which was recorded in a 1965 session without Land and Cowell – but with Sam Rivers on tenor and bass clarinet, Freddie Hubbard on trumpet, and Andrew Hill on piano! Recorded in the 60s, but only initially issued on vinyl in 1979! LP, Vinyl record album

Soaring, spiritual jazz from Bobby Hutcherson – one of his soulful, modal killers for Blue Note in the 70s – and a record that's done in a style that's very similar to Bobby's work with Harold Land! This time around, Emanuel Boyd is on deck on tenor, flute, and soprano sax – blowing with a wonderfully warm sound that fits the mood of Hutcherson's vibes perfectly – lots of sharp changes and edges, yet never too many to get in the way of the overall groove. Other players include the mighty George Cables on piano, Eddie Marshall on drums, and Kenneth Nash on percussion – adding in a little extra to underscore the spiritual elements of the tunes. All tracks are great – and titles include "Prime Thought", "Roses Poses", "Waiting", "Don't Be Afraid", and "Hangin' Out". LP, Vinyl record album

One of Bobby Hutcherson's most important albums ever – and an essential piece of "new thing" jazz that ranks up there with such key Blue note sessions of the genre as Tony Williams' album Life Time, Dolphy's Out To Lunch, and Jackie McLean's One Step Beyond! Hutcherson's sound on the vibes is amazing – metallic, yet melodic – in a sublime blend of the modern and the soulful, all wrapped up in tones and colors that few other players have ever managed to get from the instrument! All the other players on the session really rise to the occasion too – and the album features tremendous work from Sam Rivers, Freddie Hubbard, Andrew Hill, and Joe Chambers. Titles include "Ghetto Lights", "Catta", and "Idle While". CD also features the bonus track "Jasper" – not on the original LP! CD

The sticks are up, and Bobby Hutcherson is at the top of his game – hitting a whole new groove here in this sublime session of modal numbers for Blue Note – a slightly warmer set than his more modern albums of the "new thing" years, and a great indication of the directions he'd take in the 70s! Bobby's vibes are set up wonderfully here in a quintet that includes Joe Henderson on tenor sax, McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums – all players who bring key elements to the groove. Tyner's got an obvious ear for the modal rhythms that Hutcherson's heading for; Higgins' drum work is freely lyrical in all the best ways; and Henderson's horn sharpens the edges of the tunes a bit, bringing in some nice darker sounds. The kickoff track is an amazing modal reading of Ornette's "Una Muy Bonita", and the rest tracks are all Hutcherson originals, including "Summer Nights", "8/4 Beat", "Black Circle", "Verse", and "Blues Mind Matter". LP, Vinyl record album

The sticks are up, and Bobby Hutcherson is at the top of his game – hitting a whole new groove here in this sublime session of modal numbers for Blue Note – a slightly warmer set than his more modern albums of the "new thing" years, and a great indication of the directions he'd take in the 70s! Bobby's vibes are set up wonderfully here in a quintet that includes Joe Henderson on tenor sax, McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums – all players who bring key elements to the groove. Tyner's got an obvious ear for the modal rhythms that Hutcherson's heading for; Higgins' drum work is freely lyrical in all the best ways; and Henderson's horn sharpens the edges of the tunes a bit, bringing in some nice darker sounds. The kickoff track is an amazing modal reading of Ornette's "Una Muy Bonita", and the rest are all Hutcherson originals, including "Summer Nights", "8/4 Beat", "Black Circle", "Verse", and "Blues Mind Matter". CD

A sublime tribute to the music of Bobby Hutcherson – put together by drummer Brian Blade with a group that really lives up to the soulful spirit of some of Bobby's best Blue Note material of the early 70s! Monte Croft is on vibes, and really gets that sense of color right that we love in Hutcherson's music – yet the record also has a nice sense of flavor of its own – thanks to strong use of congas from Rogerio Boccato, guitar from John Hart, and some especially nice flute, tenor, and alto from Myron Walden. John Cowherd colors in things nicely on piano and Wurlitzer piano, Doug Weiss plays bass, and titles include "Now", "Black Heroes", "The Final Four", "Love & Hate", "Hello To The Wind", and "Slow Change". CD

Harold Land at his most spiritual – recording solo after a set of great albums with Bobby Hutcherson as a partner – but still very much in the same sort of unbridled energy! The tracks are soaring and open – and have Land's tenor really sounding nice and raw – amidst a lineup that includes Oscar Brashear on trumpet, Bill Henderson on piano, Buster Williams on bass, and Ndugu Chancler on drums and percussion! Henderson picks up Fender Rhodes at points – especially on the great funky cut "In The Back In The Corner In The Dark", which is one of the best-remembered tracks on the set. And Land also plays a bit of oboe on the cut "Pakistan", almost in a Yusef Lateef sort of style. Other cuts include "Chocolate Mess", "Damisi", and "Step Right Up To The Bottom" – all great too! LP, Vinyl record album

A fantastically beautiful record that stands as the first meeting between Bobby Hutcherson and Harold Land – an album that's possibly even better than the more famous Blue Note work by the pair! This is one of those "once in a lifetime" jazz sessions – filled with magical interplay that's made the record a favorite with collectors for years, and done with a sound that's as lyrically graceful as it is soulful and righteous! Hutcherson's vibes are at their warmest 60s mode, but still have some of the angularity of his more modern sides for Blue Note – but Land is the real discovery here – as he steps out with a fluidity that surpasses any of his earlier hardbop albums, a flowing exploratory style expressed on both flute and tenor – with a mode that's years ahead of its time, and sounds a lot more like work on labels like Strata East or Muse from the 70s. Tracks are nearly all originals by Land, and are the kind of thoughtful jazz compositions that show up on a rare few records from the 60s – all of them are great, and sparkle with creativity and a subdued sense of righteousness. The other players on the date include Joe Sample on piano, Buster Williams on bass, and Donald Bailey on drums – and titles include "One For Nini", "Angel Dance", "The Peace Maker", "40 Love", "Stylin", and "The Aquarian". LP, Vinyl record album

One of the most righteous albums ever from jazz vibes legend Johnny Lytle – a soaring, spacious set that's almost to Lytle's career what Gears was to Johnny Hammond's! Of course, Lytle's groove here is different – no Mizell production, and a mellower feel overall – but the unbridled space of 70s Milestone is definitely a key influence here – and Johnny stretches out here like never before! The players are all pretty hip – and include Daahoud Hadi (aka Butch Cornell) on electric piano and organ, Marvin Cabell on flute and tenor, Bob Cranshaw on bass, Betty Glamann on harp, and Jozell Carter on drums – all perfect mates here for Johnny's spiritual exploration of sound with his vibes – in ways that are almost more amazing than work from Bobby Hutcherson or Roy Ayers at the time! Titles include an amazing original called "Libra", plus "Tawhid", "Where Is The Love", "Family", and a version of "People Make the World Go Round". LP, Vinyl record album

A triple-action classic from alto genius Jackie McLean – and one of those key records from the years when he stunned the world by moving from hardbop into the more experimental modes of the "new thing" generation! The approach here is very formative – not just for some of Jackie's spiritual expressions in the 70s, but also for the way that more creative jazz moved forward in years to come – as McLean is working alongside key players who include Charles Tolliver on trumpet, Bobby Hutcherson on vibes, Cecil McBee on bass, and Billy Higgins on drums! Higgins' lyrical playing is a perfect complement to the more avant tones of the others – giving the album a free dancing soul, but also never letting things get too out of hand to lose the jazz basis of McLean's best work. The album includes an early recording of Tolliver's classic tune "Plight", plus the tracks "Wrong Handle", "Action", and "Hootnan". CD

A triple-action classic from alto genius Jackie McLean – and one of those key records from the years when he stunned the world by moving from hardbop into the more experimental modes of the "new thing" generation! The approach here is very formative – not just for some of Jackie's spiritual expressions in the 70s, but also for the way that more creative jazz moved forward in years to come – as McLean is working alongside key players who include Charles Tolliver on trumpet, Bobby Hutcherson on vibes, Cecil McBee on bass, and Billy Higgins on drums! Higgins' lyrical playing is a perfect complement to the more avant tones of the others – giving the album a free dancing soul, but also never letting things get too out of hand to lose the jazz basis of McLean's best work. The album includes an early recording of Tolliver's classic tune "Plight", plus the tracks "Wrong Handle", "Action", and "Hootnan". LP, Vinyl record album

A modernist classic from 60s Blue Note! The album's one of Jackie McLean's greatest from the time – and one of his seminal "new thing" sessions cut with young modernists Grachan Moncur III on trombone and Bobby Hutcherson on vibes – both young players who were really finding the sharper edges of their sound at the time! Three of the four long tracks on the record were written by Moncur, and have a similar approach to his own recordings for Blue Note – moody and introspective, in a style that's as concerned with sound and space as it is jazz and rhythm – and Hutcherson's vibes are beyond compare here, with have a sinister metallic quality that he only used briefly in his early career! The whole record's a gem, and one not to pass up! Titles include "Kahlil The Prophet", "Riff Raff", and "Love & Hate". LP, Vinyl record album

A modernist classic from 60s Blue Note! The album's one of Jackie McLean's greatest from the time – and one of his seminal "new thing" sessions cut with young modernists Grachan Moncur III on trombone and Bobby Hutcherson on vibes – both young players who were really finding the sharper edges of their sound at the time! Three of the four long tracks on the record were written by Moncur, and have a similar approach to his own recordings for Blue Note – moody and introspective, in a style that's as concerned with sound and space as it is jazz and rhythm – and Hutcherson's vibes are beyond compare here, with have a sinister metallic quality that he only used briefly in his early career! The whole record's a gem, and one not to pass up! Titles include "Kahlil The Prophet", "Riff Raff", and "Love & Hate". CD

A modernist classic from 60s Blue Note! The album's one of Jackie McLean's greatest from the time – and one of his seminal "new thing" sessions cut with young modernists Grachan Moncur III on trombone and Bobby Hutcherson on vibes – both young players who were really finding the sharper edges of their sound at the time! Three of the four long tracks on the record were written by Moncur, and have a similar approach to his own recordings for Blue Note – moody and introspective, in a style that's as concerned with sound and space as it is jazz and rhythm – and Hutcherson's vibes are beyond compare here, with have a sinister metallic quality that he only used briefly in his early career! The whole record's a gem, and one not to pass up! Titles include "Kahlil The Prophet", "Riff Raff", and "Love & Hate". CD

Two key albums from a young Jackie McLean – both very early entries in the "new thing" mode of the 60s! First up is Let Freedom Ring a record that features a young Jackie McLean at the height of his powers – really stretching out here, but never going too far out – a perfect balance between his modern bop of previous records, and his groundbreaking "new thing" jazz to come! The group is a relatively straight ahead one – with Walter Davis on piano, Herbie Lewis on bass, and Billy Higgins on drums – but the tracks are all quite long, and have this really arch sensibility on Jackie's horn – this edge, this cry he didn't have a few years before – easily one of the freshest voices in alto sax at the time, yearning here to break free with new ideas and new modes of expression. The vibe is perfectly balanced – like McLean's classic A Fickle Sonance – and titles include the classic "Melody For Melonae", plus "Rene", "I'll Keep Loving You", and "Omega". Destination Out is a modernist classic from 60s Blue Note! The album's one of Jackie McLean's greatest from the time – and one of his seminal "new thing" sessions cut with young modernists Grachan Moncur III on trombone and Bobby Hutcherson on vibes – both young players who were really finding the sharper edges of their sound at the time! Three of the four long tracks on the record were written by Moncur, and have a similar approach to his own recordings for Blue Note – moody and introspective, in a style that's as concerned with sound and space as it is jazz and rhythm – and Hutcherson's vibes are beyond compare here, with have a sinister metallic quality that he only used briefly in his early career! The whole record's a gem, and one not to pass up! Titles include "Kahlil The Prophet", "Riff Raff", and "Love & Hate". CD

Landmark material from the farther reaches of jazz in the mid 60s – one of two albums that trombonist Grachan Moncur recorded for Blue Note – and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself on alto, Bobby Hutcherson on vibes, and Tony Williams on drums – all players who were opening up their own doors in the avant jazz world of the time – joined by trumpeter Lee Morgan, who really rises to the occasion, and opens up with a modern tone that's different than some of his own albums! The set features four stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away! CD

Landmark material from the farther reaches of jazz in the mid 60s – one of two albums that trombonist Grachan Moncur recorded for Blue Note – and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself on alto, Bobby Hutcherson on vibes, and Tony Williams on drums – all players who were opening up their own doors in the avant jazz world of the time – joined by trumpeter Lee Morgan, who really rises to the occasion, and opens up with a modern tone that's different than some of his own albums! The set features four stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away! CD

Excellent later work from Frank Morgan – the legendary LA altoist who first burned brightly in the bop generation, then came back to make really rich recordings like this! The set's got Frank in some really great company – a hip sextet that features Joe Henderson on tenor, Bobby Hutcherson on vibes, Mulgrew Miller on piano, Ron Carter on bass, and Al Foster on drums – a sweet modern jazz lineup that ensures that the record's filled with sharp changes and deep colors – arguably a lot more so than some of Morgan's later revival sessions – with a vibe that's much more like some of Hutcherson or Henderson's best from the 80s. Titles include "Old Bowl New Grits", "Starting Over", "Reflections", "OK", and "Black Narcissus". CD features a bonus track – "Caravan". CD

Funky trio Nautilus plays standards, but not the kind of over-recorded songs from Cole Porter and Irving Berlin – and instead a whole host of mighty cool cuts from the likes of Herbie Hancock, Bobby Hutcherson, and Woody Shaw! As with the group's other records, the approach is that of a trio – Mariko Nakabayashi on keyboards, Shigeki Umezawa on bass, and Toshihuki Sasaki on drums – but the format is nicely different, as these guys shift up rhythms in all sorts of cool, creative ways – a bit like the Indigo Jam Unit and other Japanese groups who proceeded them – which does great things to some of these already-great cuts! Mizuki Kamata provides guest vocals on the track "I Wish I Knew How It Would Feel To Be Free" – and other titles include "The Eye Of The Hurricane", "Little B's Poem", "Sweet Love Of Mine", and "Solitude". LP, Vinyl record album

A wonderfully wicked meeting of the minds – and a legendary bit of soul jazz from organist Big John Patton! The core of the record features the usual Patton groove – with John on Hammond, Grant Green on guitar, and Otis Finch on drums – but added to that mix is Bobby Hutcherson on vibes, making a rare appearance on an organ jazz session, with some wonderful results! The combination of vibes and organ is especially haunting – jangling a groove with a really modal feel, and creating a sound that instantly made this one stand out from the pack! The whole thing's great, and tracks include "The Turnaround", "Let Em Roll", "Latona", and "One Step Ahead". CD

A wonderfully wicked meeting of the minds – and a legendary bit of soul jazz from organist Big John Patton! The core of the record features the usual Patton groove – with John on Hammond, Grant Green on guitar, and Otis Finch on drums – but added to that mix is Bobby Hutcherson on vibes, making a rare appearance on an organ jazz session, with some wonderful results! The combination of vibes and organ is especially haunting – jangling a groove with a really modal feel, and creating a sound that instantly made this one stand out from the pack! The whole thing's great, and tracks include "The Turnaround", "Let Em Roll", "Latona", and "One Step Ahead". LP, Vinyl record album

A wonderfully wicked meeting of the minds – and a legendary bit of soul jazz from organist Big John Patton! The core of the record features the usual Patton groove – with John on Hammond, Grant Green on guitar, and Otis Finch on drums – but added to that mix is Bobby Hutcherson on vibes, making a rare appearance on an organ jazz session, with some wonderful results! The combination of vibes and organ is especially haunting – jangling a groove with a really modal feel, and creating a sound that instantly made this one stand out from the pack! The whole thing's great, and tracks include "The Turnaround", "Let Em Roll", "Latona", and "One Step Ahead". CD

Wahoo is right – as Duke Pearson sets up one of his hippest sessions of the 60s, a lyrical batch of soul jazz tracks, with that slight edge of darkness that he was putting into his best work as the decade progressed! Players include James Spaulding on alto and flute, Joe Henderson on tenor, and Donald Byrd on trumpet – and the overall feel is perhaps a bit like some of those Byrd sessions that were heavily influenced by Pearson, but also with a bit of the later expansive style of writing for horns that you'd find on albums like Pearson's Prarie Dog or Bobby Hutcherson's The Phantom. Titles include "ESP", "Fly Little Bird Fly", "Farewell Machelle", "Bedouin", and "Amanda". CD

Wahoo is right – as Duke Pearson sets up one of his hippest sessions of the 60s, a lyrical batch of soul jazz tracks, with that slight edge of darkness that he was putting into his best work as the decade progressed! Players include James Spaulding on alto and flute, Joe Henderson on tenor, and Donald Byrd on trumpet – and the overall feel is perhaps a bit like some of those Byrd sessions that were heavily influenced by Pearson, but also with a bit of the later expansive style of writing for horns that you'd find on albums like Pearson's Prarie Dog or Bobby Hutcherson's The Phantom. Titles include "ESP", "Fly Little Bird Fly", "Farewell Machelle", "Bedouin", and "Amanda". CD

Fantastic 80s work from Pharoah Sanders – with a vibe that's a perfect extension of his classic work for the Impulse label! The album has Pharoah working with an amazing group – Bobby Hutcherson on vibes, John Hicks and Joe Bonner on piano, Art Davis on bass, and either Elvin Jones or Billy Higgins on drums. The sound is remarkably fresh – soaring and spiritual, but also more focused than in earlier years, with a great amount of soulful warmth. And although extra elements are added – like vocals, vibes, and added percussion – Pharoah's solos still dominate the whole album beautifully. Titles include "Rejoice", "Origin", "Moments Notice", "Central Park West", "Farah", "Ntjilo Ntjilo/Bird Song", and "Nigerian Juju Hilife". LP, Vinyl record album

The start of a fantastic tradition – the first-ever recording of the SF Jazz Collective, a kickoff to a series that would give us amazing records for years to come! This time around, the group work through a series of Ornette Coleman tunes, re-arranged by Gil Goldstein for the octet – which features an all-star lineup that includes Bobby Hutcherson on vibes, Joshua Redman on tenor, Nicholas Payton on trumpet, Miguel Zenon on alto, Josh Roseman on trombone, Renee Rosnes on piano, Robert Hurst on bass, and Brian Blade on drums – all strong leaders on their own, but doing a remarkable job here of putting aside egos and working together as a whole! Coleman tunes include "Una Muy Bonita", "Lonely Woman", "School Work", "Happy House", and "When Will The Blues Leave" – and originals include "Of This Day's Journey", "Wages", "March Madness", and "Rise & Fall". CD