Monday, 27 June 2011

(some) Bobby Hutcherson

Bobby Hutcherson : Live 1977.

If you've ever been here before, the chances are you'll know that i'm an obsessive fan of Bobby Hutcherson. The guy has never put a foot wrong, and has the touch, and finesse, class and style of a pure genius. Never more so was this evident, than on the album, Blue Note Meets the L.A Philharmonic. Arranged by Dale Oehler, responsible for among others, the killer album Waiting, and includes all the players from that gem. Eddie Marshall, Manny Boyd, Bobbye Porter Hall, George Cables and James Leary who wrote my all time favourite track, Prime Thought.

These 4 live tracks are all sublime, but for me, Bobby's solo in Slow Change, is simply prefect. If you've never heard these, go get it, now!

Saturday, 25 June 2011

The Elysian Spring

Super rare, and of holy grail proportions, here is Glass Flowers. Beautifully remastered and digitized for enhanced sonic pleasures.

Wise words from Re-release :

The history of Elysian Spring is as eclectic and unusual as the music they made. When the summer of love was gripping the west coast, the group was busy creating a sound based on pure improvisation. The members were inspired by the classic jazz of Brubeck and Adderley, and also sound of early new age music from Rainer’s trip to Berkeley. They quite literally would practice in the fields in Western MA. This openness helped the group evolve while keeping it separate from the frequently stale and clinical school-based jazz in the surrounding.

The original liner notes by Andy Haigh are striking in their honesty. Like good jazz, they ask more questions than they give solid answers. For the sound of Elysian Spring is in questioning, considering, and evaluating possibilities. This must be a meaningful album, because nearly 40 years later the music is still startlingly fresh.

Trickles of classic Blue Note bop can be heard throughout “Glass Flowers – a solid-grooving soul-jazz feel predominates “2 & 2” – but overall the album is full of the kind of deft choices that only happen when musicians give themselves over to improvisation. This experimentation is most papable on the Gilles Peterson favorite “Blue Sands,” a modal song in 4/4. The theme is carried by the guitar in an unusual way for the late 60s, and is the audio equivalent of a soothing balm.

“Lotus” is another song that stands out for its unusual instrumentation of two flutes. To achieve the tones he desired, Bertrams frequently disassembled his flute mid-performance and used his hand as an extension of the instrument. This track is to be included on a recent compilation on BBE Records called Super Heavy Jazz, but the only place to get the full album is right here.


Rainer Bertrams – Piano, vibraphone, flute

Bruce Krasin – Saxophone, flute

Lenny Ezbicki – Drums, guitar

Jim Bridges – Guitar, bass

Merliani – Trumpet/flugelhorn, bass

Costello – Guitar on “7th Sea”


The self-titled album was here retitled “Glass Flowers” by Rainer Bertrams to more accurately reflect the music’s true nature.

Engineered by Art McLain

Recorded by John Wojciak

Photos by Ric Steliga

Sunday, 5 June 2011

Graham Collier Sextet

Graham Collier : Bass
Harry Beckett : Flugelhorn
Stan Sulzmann : Alto Tenor
Nick Evans : Trombone
Karl Jenkins : Oboe and Piano
John Marshall : Drums

Recorded in London March 1969.

A total stormer.