Review: Released in 1964, groundbreaking hard bop classic Breaking Point! marked a departure for trumpet legend Freddie Hubbard. Having established himself with The Jazz Messengers, this album showed him breaking out as a player with some daring and expressive playing that went full tilt into modal sequences and rapid fire notes that shook up the state of play and showed new possibilities for jazz as the 60s progressed. In its position between wild experimentation and tradition, it retains musical form which makes the edgier angles go down very smoothly indeed. You can see why this would be a candidate for Decca's Tone Poet series - Hubbard's expression has rarely been matched, in composition or execution.
Review: Freddie Hubbard's 1973 release showcases his exceptional trumpet skills, blending jazz fusion with funk elements. The album features Hubbard's compositions, including 'Brigitte' and 'Spirits of Trane,' performed by a talented ensemble. Critics have praised the album for its innovative approach and Hubbard's dynamic performance; this work being a significant contribution to Hubbard's discography and the jazz genre.
Review: Freddie Hubbard's final release for Impulse was The Body & The Soul, an album he released in 1963 and that features both an all-star septet and a string orchestra. Hubbard originals feature and showcase notable musicians such as Curtis Fuller on trombone, Wayne Shorter on tenor saxophone, Eric Dolphy on alto saxophone, Cedar Walton on piano, Reggie Workman on bass and Louis Hayes on drums. This release stands out in Hubbard's fine discography and highlights Wayne Shorter's exceptional arranging skills, all now pressed up to 180-gram vinyl at Third Man in Detroit.
Review: Recorded in 1962, this album captures Hubbard at the peak of his powers, his fiery trumpet soaring alongside a stellar lineup that includes Wayne Shorter, Cedar Walton, Reggie Workman and Philly Joe Jones. From the explosive opener, 'Philly Mignon', to the tender beauty of 'Body and Soul', the album showcases Hubbard's versatility and masterful command of the trumpet. This all analogue reissue, mastered by Kevin Gray from the original master tapes, really captures the energy and intimacy of this classic session.
Review: Jazz vocalist Helen Humes is not as well known as some of her peers, but that isn't for lack of talent. This was her second album on Contemporary Records and it came in 1961 as a fully realised exhibition of her vocal versatility and charm. Conducted by Marty Paich, the record features an all-star lineup including saxman Art Pepper, bass from Leroy Vinnegar, drums by Shelly Manne and guitar from Barney Kessel. This reissue has been meticulously crafted with AAA lacquers cut from the original master tapes by Bernie Grundman so is an authentic representation of the original magical sound with unmatched fidelity.
Review: American Bobbi Humphrey is one of the most well loved jazz flautists. She turned out plenty of vibrant albums, none less so than this, Fancy Dancer, which was her fifth. It came on Blue Note in 1975 and is full of all killer no filler gold. It also saw her, along with producers the Mizell Brothers aka Larry and Fonce, come up with a fresh new largely instrumental funk sound. Weaving in everything from world music to soul-jazz to club music to pop, it's a widescreen sound that is packed with uplifting flute from Humphrey and lush production that reveals something new with each listen.
Review: Bobby Hutcherson's innovative 1969 session Medina features a stellar lineup with Harold Land on tenor saxophone and flute, Stanley Cowell on piano, Reggie Johnson on bass, and Joe Chambers on drums all joining the legendary vibraphonist. The album showcases original compositions by Hutcherson, Cowell and Chambers and was recorded on August 11, 1969 at the Van Gelder Studio, Englewood Cliffs, New Jersey. This special reissue comes as part of the Tone Poet series produced by Joe Harley and mastered by Kevin Gray from the original analog master tapes.
Review: The most celebrated jazz vibraphonist of them all is Bobby Hutcherson. Oblique was one of many high water marks of the Blue Note man, and it featured Herbie Hancock, Albert Stinson and Joe Chambers on the original session recorded in 1967. The album was only the second time Bobby played as part of a quartet and it received rave reviews at the time for its sophisticated but accessible sound. Laid back, lyrical and subdued in sound, the album touches on funky styles and jazz-rock influences with impeccable production from the legendary Rudy Van Gelder studio in New York.
Review: Bobby Hutcherson was one of the greatest vibraphone and marimba players in jazz, and he left behind a staggering legacy. By 1965 he was already recording his first album as bandleader for Blue Note, and just three years later he recorded Stick-Up!, his fifth for the label and one of his all time finest. Decca clearly agree as they now present the album again in their Tone Poet series. Backing Hutcherson up is Joe Henderson on tenor sax, McCoy Turner on piano, Billy Higgins on drums and Herbie Lewis on bass, and in that ensemble you get a golden example of post bop perfection.
Review: Here's another classic from one of the greatest vibraphone players to ever grace the world of jazz. Amongst Bobby Hutcherson's imperious discography lies this collaboration with tenor sax, flute and oboe virtuoso Harold Land, originally released on Blue Note in 1971. San Francisco is notable for the shift Hutcherson and Land took away from the common hard bop style they were best known for, heading towards the fruitful pastures of jazz fusion. As well as the lead men, special credit goes to the rhythm section of John Williams on bass and Mickey Roker on drums, holding down some sturdy grooves for the duration.
Review: Bobby Hutcherson's iconic Happenings is a mesmerizing jazz opus that even now all these years later still brims with innovation and emotion. Released originally in 1966, the record showcases Hutcherson's mastery of the vibraphone and how he effortlessly weaves intricate melodies with a vibrant rhythmic pulse. Backed by a stellar ensemble including the one and only Herbie Hancock, Hutcherson crafts a sonic landscape that is both sophisticated and accessible. Tracks never fail to captivate with their dynamic interplay and infectious grooves, while reflective pieces are also included to offer moments of introspection. Happenings then is a standout from an unparalleled talent.
Review: Bobby Hutcherson's 1965 debut, Dialogue, marked his emergence as a leading vibraphonist, following his versatile work on albums like Idle Moments and Out to Lunch. The album reflects Hutcherson's more adventurous side and features a dynamic sextet with Freddie Hubbard, Sam Rivers, Andrew Hill, Richard Davis, and Joe Chambers. This Tone Poet Vinyl Edition, produced by Joe Harley, was mastered by Kevin Gray from original analogue tapes so sounds superb, and has been pressed up to 180g vinyl at RTI. It comes in a deluxe gatefold tip-on jacket and offers audiophiles a premium experience that truly does Hutcherson's groundbreaking work justice.
Review: Bobby Hutcherson's Total Eclipse is a seminal work in the post-bop jazz genre. Released in 1968, the album showcases Hutcherson's masterful vibraphone playing and his innovative approach to composition which creates a sense of mystery and wonder. 'Herzog' is a up-tempo number, with Hutcherson's vibraphone taking a more prominent role. The track features some blistering solos from Hutcherson and his fellow musicians, including pianist Herbie Hancock and bassist Ron Carter. 'Matrix' is a complex and challenging piece that showcases Hutcherson's experimental side. The track features a variety of odd time signatures and dissonant harmonies, but Hutcherson's playing is always melodic and accessible. 'Same Shame' is a more traditional jazz ballad, with Hutcherson's vibraphone playing taking a more subdued role. The track is a showcase for Hutcherson's lyrical and sensitive playing. The album closes with 'Pompeian,' a haunting and atmospheric piece that recalls the title track. Total Eclipse is a masterpiece of post-bop jazz.
Review: Featuring the vibraphonist in peak form while interpreting seven jazz standards with remarkable interplay, this newly reissued vinyl celebrates the album's 40th anniversary, bringing fresh attention to an overlooked gem. Hutcherson's quartetifeaturing pianist George Cables, bassist Herbie Lewis and legendary drummer Philly Joe Jonesidelivers a session filled with warmth and dynamic expression. The set kicks off with Thelonious Monk's 'I Mean You', immediately showing the group's cohesion. Hutcherson's phrasing on 'All Of You' is adventurous and his delicate touch on 'Spring Is Here' highlights his lyrical sensitivity. The brisk tempo of 'Star Eyes' adds energy, while 'If I Were A Bell' features an engaging solo introduction from Hutcherson. Cables shines on 'Summertime' and the album closes with an exhilarating take on 'Autumn Leaves'. Hutcherson's vibes function much like a lead horn, evoking the spirit of classic jazz quartets. Cables' piano work is exceptional and an intricate yet fluid accompaniment. Jones, whose drumming, delivers an impeccable performanceihis crisp, swinging touch is a masterclass. Overall, a very underrated a jazz album being reissued to a new generation is always a reason to celebrate.
Review: 1969 was the year of release of this one and only album by Japanese jazz pianist Hideo Ichikawa, vibraphonist Hiroshi Matsumoto, bassist Kunimitsu Inaba and drummer Motohiko Hino, all in collaboration. A one-off coming-together, it centred on the valerian vibes of Matsumoto, whose star instrument, the vibraphone, was bound to take centre stage for its comparative novelty, not to mention the fact that Matsumoto himself had been practicing before the others. An honorary work, this urbane masterpiece hears tasteful vibraphonic panning in full stereo, as blue passing notes collide with expert steel brushings and untied chord playing, resulting in a unique but salubrious listen.
Review: 1970's Hello Herbie reunites The Oscar Peterson Trio with legendary guitarist Herb Ellis for what proved to be a timeless jazz masterpiece. Ellis, who played with greats of the genre such as Stan Getz and Ella Fitzgerald, was a key member of Peterson's trio from 1953-58. This album marks their reunion with Sam Jones on bass and Bobby Durham on drums. Featuring playful interplay between Peterson's virtuosic piano and Ellis' thoughtful guitar, the album is a testament to their musical chemistry and for this reissue has been remastered by Grammy-nominated engineer Christoph Stickel. The LP also includes original tape scans and new liner notes by jazz journalist Scott Yanow to add some extra perspective.
Review: Heart Trio features three devoted musicians - William Parker, Cooper-Moore, and Hamid Drake - dedicated to healing through sound. World-renowned bassist-composer William Parker has collaborated with Cooper-Moore and Hamid Drake for over 30 years, and since 2012, they've been core members of Parker's In Order To Survive quartet. Heart Trio marks their debut as a trio, with Parker on doson ngoni, dudek, and flutes, Cooper-Moore on ashimba and harp, and Drake on frame drum and drum kit. Their collectively composed music is for daily healing and centering, described by Parker as "heart and soul sound, dancing without pretense."
Review: The latest volume in BBE's J Jazz Masterclass series is something of a stone-cold classic: then young Japanese pianist Makoto Terashita's 1983 album-length collaboration with legendary tenor saxophonist Harold Land. Somewhat surprisingly, this is the first time that the sought-after set has been reissued since, making it something of a must-have for serious jazz fans. Both players are clearly audible throughout the LP, with the accompanying bassist and drummer generally kept low in the mix. It's an approach that pays dividends from start to finish, with highlights including the poignant and picturesque "Dear Friends", the epic dancefloor flex of "Dragon Dance" and the raucous, high-octane thrills of "Crossing".
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