LT-1086

Bobby Hutcherson - Medina

Released - 1980

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, August 11, 1969
Harold Land, tenor sax, flute; Bobby Hutcherson, vibes; Stanley Cowell, piano; Reggie Johnson, bass; Joe Chambers, drums.

4915 tk.7 Avis
4916 tk.11 Ungano
4917 tk.16 Orientable
4918 tk.18 Medina
4919 tk.24 Comes Spring
4920 tk.28 Dave's Chant

Track Listing

Side One
Title	Author	Recording Date
Avis	Bobby Hutcherson	August 11 1969
Comes Spring	Bobby Hutcherson	August 11 1969
Dave's Chant	Stanley Cowell	August 11 1969
Orientale	Stanley Cowell	August 11 1969
Side Two
Medina	Joe Chambers	August 11 1969
Ungano	Joe Chambers	August 11 1969

Liner Notes

BOBBY HUTCHERSON

In a review of a recent new album by Bobby Hutcherson critic Bob Blumenthal pointed out that Bobby "would probably be more widely recognized as one of the '60's finest musicians if he didn't play vibes." There certainly seems to be some truth to this statement when one realizes the volumes that have been written about other instrumentalists of the period and the relatively little attention the vibes have received. Of all the vibists to appear on the scene contemporaneous with Hutcherson none have been able to combine the rhythmic dexterity, emotive attack and versatile musical interests that Bobby possesses. Hutcherson's achievements, if not yet fully appreciated, are given further testimony by the previously unreleased session enclosed within.

Born in Los Angeles on January 27, 1941, Hutcherson spent his formative years in the Southern California area before moving to New York in 1962. There his associations with the bands of Eric Dolphy and Jackie McLean led to a contract with Blue Note Records that was to last until 1977. During that time he recorded some twenty-four albums for the label, several of which have remained unissued until recently. With the appearance of Spiral (LT-996) and Patterns (LT-1044) in the United States, Oblique (GXF-3061) in Japan and now Medina a more complete picture of Bobby's work in the late 60's has emerged. The only album representing this stylistic period to have actually been issued at the time it was recorded was the memorable Total Eclipse (BST-84291) featuring similar personnel to Medina with Chick Corea replacing Stanley Cowell on piano. Bobby's next issued album, Now (BST 84333), marked a real departure as it was his first date to incorporate voices and electric instruments.

In 1968 after having moved back to California from New York Bobby got a gig playing in a group at an L.A. club called La Duce. Coincidentally tenor saxophonist Harold Land, with whom he'd jammed occasionally as a youngster coming up in the late 50's, was also a member of the group. At this point Bobby and Harold decided to form a cooperative band which they co-led for the next three years.

The late sixties were a difficult time for jazz with only a few active clubs and a generally depressed scene. With college concerts and a couple of European tours to supplement the limited club work available Hutcherson and Land managed to keep together as long as they did. In addition, albums for Blue Note under Bobby's name and for Mainstream and Chess under Harold's name helped to draw attention to the band. Since the work was not always steady it was impossible to maintain a regular rhythm section. Depending on what part of the country they were playing in Bobby and Harold would assemble a rhythm section from the best available players. The Cowell-Johnson-Chambers team heard here was one of the most frequently used New York-based sections.

At first glance Harold Land and Bobby Hutcherson might have seemed a surprising combination. Although both brought up in Southern California they were from two different musical generations. Land is probably best known for his membership in the classic Clifford Brown-Max Roach Quintet of 1954 and 1955. After leaving that band to return to L.A. he worked with bassist Curtis Counce's band, co-led a band with bassist Red Mitchell and was featured with his own groups as well. He recorded for Contemporary, Jazzland, HiFi Jazz, Imperial and even Blue Note although the session was not issued until August, 1980 (Take Aim, LT-1057). Throughout this period his clearly recognizable style was characterized by his dry tone and sophisticated rhythmic approach to complex chord changes. Like several saxophonists of his generation he began listening closely to the innovations of John Coltrane, absorbing many of Trane's musical ideas and some of his hard-edged tone. By the time he teamed up with Hutcherson, Land was moving in the direction of more open-ended, looser forms like those found on this record.

Although weaned on bebop, Hutcherson's New York playing and recording experiences with Eric Dolphy, Archie Shepp, Grachan Moncur, Jackie McLean and Andrew Hill enabled him to be part of the vanguard of new jazz developments in the sixties. He contributed mightily to several of the key sessions that document these developments and in many ways Medina may be heard as a continuation of that tradition.

Avis, the darting line that opens the album, received its title, according to Bobby, for being the first tune recorded at the date. A tricky seventeen bar line that seems not to resolve it gives solo space to Hutcherson, Land, and Cowell.

Comes Spring reflects the influence of French composer Erik Satie. "I was listening to a lot of Erik Satie at the time," Bobby explains. "Albert Stinson (the late bassist) and myself used to play a lot of his four hand inventions on piano." After the rubato melody statement the solos by Land and Hutcherson are taken at a medium tempo in a minor mode.

The next two compositions are by Stanley Cowell. One of the most talented pianist-composers to appear in jazz in the last fifteen years, he has confined himself mainly to roles as a key sideman rather than stepping out as a leader. His contributions to the groups of Marion Brown, Max Roach, Clifford Jordan, Charles Tolliver's Music Inc., Bobby Hutcherson-Harold Land and since 1975 the Heath Brothers, are all notable.

Dave's Chant is a striking piece that switches back and forth from a stalking 6/8 to a buring 4/4 time feel. Bobby and Harold both solo but surprisingly Stanley doesn't. His strong comping is very evident, however, as it is throughout this set. In 1978 Cowell recorded this piece again in a somewhat different interpretation on his Equipoise album for Galaxy.

Orientale is appropriately named, as the stately theme and floating rhythm conjure up some very Eastern settings. Harold Land plays flute here, an instrument he had only recently adopted at the time of this session. Reggie Johnson's dancing bass lines and solo are highlights of this piece. Stanley also recorded this composition again with Music Inc. in 1970 on Live At Slugs' Vol. 1 for the Strata-East label.

The two long tunes which comprise the second side of this record are both by drummer Joe Chambers. Probably Bobby's closest musical associate in the 1960's, Chambers was heard on all but one of Hutcherson's albums from 1965-1969. He contributed prolifically to these sessions as both a stimulating composer and sensitive and invigorating drummer. "Joe really knew how to play with the vibes," Hutcherson related. "He knew how to play soft with strength so as not to cover up the vibes, plus his writing...he always had something interesting to bring in." According to Bobby it was also Joe who was responsible for bringing Stanley Cowell and Reggie Johnson into the band.

The title tune Medina, which Chambers later recorded on his Muse album The Almoravid, is the most intense piece on the record. Powered by Chambers' complex, churning drums it moves in and out of several different time feelings giving free melodic reign to Harold, Bobby, and Stanley as soloists.

The album concludes with Ungano, a more lyrical Chambers composition with a particularly attractive melody, Performed in a relaxed Latin 4/4 time Ungano's more structured form consists of two sixteen bar sections followed by a ten bar section with an eight bar interlude after the melody statement and the last chorus of each soloists.

Medina as an album represents a pure jazz esthetic that typified much of the sixties' best music. It is an uncompromising program with no concessions to any prevalent trends. The music is open, adventurous and challenging to both player and listener. For these reasons it still sounds fresh eleven years later.

—Richard Seidel

Notes for the 2012 CD Edition

In 1968 and '69, the Bobby Hutcherson-HaroId Land quintet with Stanley Cowell, Reggie Johnson and Joe Chambers was a working band (when work was available). They only went into the studio twice for "Spiral" (LT996) (November 11, 1968) and this album on August Il, 1969. Sadly, neither album was released until the LT series.  

Everyone was playing brilliantly and they gelled as a unit in much the same way the Miles Davis Quintet of 1964-67 did. In Hutcherson, Cowell and Chambers, they had three of the most creative composers in modern jazz at the time.  

They had been together for about a year when this final session took place. One can hear from the quality and complexity of the writing and playing how much this amazing quintet had grown. Hutcherson and Harold Land would remain a team for a number of years afterward, but their direction and ensembles would change over time.  
 
- Michael Cuscuna