BST 84362

Bobby Hutcherson - San Francisco

Released - May 1971

Recording and Session Information

United Artists Studios, Los Angeles, CA, July 15, 1970
Harold Land, tenor sax, flute, oboe; Bobby Hutcherson, vibes, marimba, percussion; Joe Sample, piano, electric piano; John Williams, bass, electric bass; Mickey Roker, drums.

7187 tk.13 Prints Tie
7186 tk.17 Goin' Down South
7190 tk.25 Procession
7189 tk.26 Ummh
7188 tk.36 Jazz
7191 tk.39 A Night In Barcelona

Track Listing

Side One
Title	Author	Recording Date
Prints Tie	Bobby Hutcherson	July 15 1970
Jazz	Joe Sample	July 15 1970
Goin' Down South	Joe Sample	July 15 1970
Side Two
Ummh	Bobby Hutcherson	July 15 1970
Procession	Bobby Hutcherson	July 15 1970
A Night in Barcelona	Harold Land	July 15 1970

Liner Notes

The Bobby Hutcherson-Harold Land quintet, formed in the late 1960's, remains one of the most unpretentiously unique groups in modern music. Starting from a base of vibes and tenor saxophone and fanning out to include marimba, flute and oboe, its front line offers textures unlike any other of its contemporaries. The group's individuality does not end there, however. Land has said: "l like playing both standards and originals, but primarily I think it's necessary for a group to play its own music."

In SAN FRANCISCO (a set I presume to be dedicated to that fair city and perhaps the good times Bobby and Harold had playing at the Both/And there) all the music comes from within the group, thereby giving the album a wholly personal character. Three of the originals are by Hutcherson, two by pianist Joe Sample and one by Land. Sample is one of several pianists who have worked with the group. Bassist John Williams, best known for his stint with the Horace Silver quintet, and the ubiquitous Mickey Roker on drums were new to the group at the time. But, as Land says, no matter who is in the rhythm section, "with all those originals and our unusual instrumentation the sound of the band always comes through."

The journey of "Goin' Down South" is begun with simple electric bass figure and cowbell rhythm before Land's tenor develops the theme. Bells are introduced for further atmosphere. The use of marimba and electric piano puts me in mind of some of the things vibist Teddy Charles was experimenting with in the early 1950's with guitarist Jimmy Raney and pianist Hall Overton. "Goin' Down South" is a trip for your mind. It's probably more rewarding than sending your body.

An intriguing Hutcherson theme is "Prints Tie" which showcases the flute-vibes sound in front of an active bossa beat. Bobby solos with s dexterous joy and Harold reveals a sweetly singing flute that embodies the best of the birdlike qualities of that silver cylinder. Sample's articulate, always rhythmically interesting piano completes the soloing.

Sample's "Jazz," an odd title for such an atmospheric piece, is a sunny afternoon seascape with Roker's cymbals supplying the waves as it builds in intensity. Hutcherson's vibes set the early mood and Land has an oboe interlude in the later section.

Funky fuzz-tones from Sample's electric piano usher in a soul excursion on Hutcherson's aptly names "Ummh." Land works out on tenor in some solid, blues-saying that is typically non-hysterical. There are spots where he parallels some of Hank Mobley's Blue Note outings. Hutcherson's vibes get down to the marrow of that sad-happy essence of the blues. I remember Bobby at a Vibes Workshop at the Newport Jazz Festival a few years ago. When he wasn't playing, he was digging the others with a big smile. That's the kind of smile he'll put on your face here.

"Procession," a piquant, tartly attractive theme by Hutcherson, is a straight-ahead promenade—neo-bop with special modifications. Bobby shows his personal absorption and extension of the Milt Jackson inspiration. Land demonstrate his ease and knack of understatement and is followed by a sweeping, surging solo by Sample on regular piano. Roker never lets down in spurring the soloists.

A well-defined electric bass-line and vigorous drumming introduces Land's exotic "A Night In Barcelona" which couples a strong rock beat with the floating, modal feeling developed by and associated with, John Coltrane. Land and Hutcherson do their own thing within this combination of grooves. Rather than just soloing in prescribed areas they interweave, each supplying a backdrop for the other improvisations on tenor and marimba.

Hutcherson says: "Our public is always looking for something new. Our group is searching around to find that something new, that next extension, an extension of the evolution that we've had, of all the music that happened before. They'll know when we find it."

I think we do.

-Ira Gilter