|
| ||||||||||||||||||||||||||||||
Listen to Samples and Buy MP3s
Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
view the MP3 Album.
Special Offers and Product Promotions
- Buy a CD or a vinyl record, get a $1 Amazon MP3 Credit. Limit one promotional credit per customer. Here's how (restrictions apply)
- Includes FREE MP3 version of this album Here's how (restrictions apply)
Frequently Bought Together
Product Details
Would you like to update product info or give feedback on images? |
Editorial Reviews
Today Bobby Hutcherson is one of the established giants of mainstream modern jazz. But in 1965, He was on the cutting edge of experimentation, working with Jackie McLean, Eric Dolphy, Andrew Hill and Archie Shepp. The personnel on Dialogue, his first album as a leader to be released, reads like a who's who of the creative front in jazz at the time: trumpeter Freddie Hubbarrd, reedman Sam Rivers, pianist/composer Andrew Hill, bassist Richard Davis and drummer/composer Joe Chambers.
Rudy Van Gelder's vivid recording style captures all nuances of this amazing album. Added to the original LP is Andrew Hill's "Jasper" from the session.
Produced by Alfred Lion. Recording engineer: Rudy Van Gelder. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 3, 1965. Remastered in 2001 by Rudy Van Gelder. All transfers from the analog tapes to digital were made at 24-bit resolution.
The Players:
Bobby Hutcherson: Vibes & Marimba
Freddie Hubbard: Trumpet
Sam Rivers: Tenor Sax, Soprano Sax, Bass Clarinet & Flute
Andrew Hill: Piano
Richard Davis: Bass
Joe Chambers: Drums.
Customer Reviews
Most Helpful Customer Reviews
33 of 33 people found the following review helpful
By G B
Format:Audio CD
This CD, long out of print, is among the best avant-garde CDs put out by Blue Note records in the mid-60s -- right up there with Eric Dolphy's Out to Lunch and Andrew Hill's Point of Departure. All 3 albums have the same exploratory, progressive attitude without forsaking swing or the blues. Things kick off with the demented mambo "Catta". Composer Andrew Hill splashes dissonant piano chords over the dance rhythms, Sam Rivers blows fiery lines on the tenor sax, Freddie Hubbard shows off his avant-garde trumpet credentials, and then Bobby Hutcherson provides his spacy, cerebral vibraphone musings. Hill gets the same twisted, off-kilter feel on the blues "Ghetto Lights". "Idle While" is an eerie Joe Chambers ballad. The two collective improvisations "Les Noirs Marchent" (set to a marching rhythm) and "Dialogue" are among the finest of their kind -- instead of getting into a blowing cacophony, all six musicians listen carefully to each other and the music has a natural ebb and flow. Bassist Richard Davis's playing holds the enterprise together, stretching and contracting as the music demand.
Dialogue is an essential listen for most fans of adventurous 60s jazz. If you like Dialogue, there are other Blue Note albums that should tickle your fancy: Out to Lunch (with Hutcherson, Davis, and Hubbard), Point of Departure (with Hill and Davis), Jackie McLean's Let Freedom Ring, and Tony Williams's Life Time (with Rivers, Davis and Hutcherson). Be sure to pick up Hutcherson's Components (with Chambers and Hubbard) and Stick-Up as well.
21 of 22 people found the following review helpful
By Thomas Aikin
Format:Audio CD
With much of Bobby Hutcherson's transient Blue Note catalog slowly becoming scarce the reissue of perhaps his best session as part of the Rudy Van Gelder series is most welcome. The lineup features a virtual who's-who of 1960s Blue Note post bop sessionmen. Freddie Hubbard (trumpet), Sam Rivers (tenor sax, various), Hutcherson (vibes & marimba), Andrew Hill (piano), Richard Davis (bass), Joe Chambers (drums) effortlessly transition from straightahead bop sound into very "free" territory. Some express concern that "Dialogue" is on the adventerous side, but I find most of it to be very palatable. I'm only more impressed by how seamlessly the session comes together even with its more adventerous passages. The compositions on the album are split between Hill and Chambers and are extraodinary. The sound is probably the biggest selling point for this disc. The entire RVG series is spoken of with awe for how closely the CD's sound to the original vinyl, and "Dialogue" continues that trend. The sound is warm with great physical spacing between the instruments.
"Dialogue" instantly becomes the point of entry for acquainting oneself with Bobby Hutcherson's Blue Note work. Many thanks to the label for making it available again.
24 of 26 people found the following review helpful
By N. Dorward
Format:Audio CD
I've always been a little puzzled by the reputation of this album, which is regarded with something like awe by Blue Note aficionados. It's of course a landmark in the label's experiment in the 1960s with avantgarde jazz, & is also notable as being Hutcherson's first disc as a leader, & as fielding what's basically the house "avantgarde" team: Hutcherson, Hill, Hubbard, Rivers, Davis, Chambers. Between them these musicians appeared in various combinations on classics of the period such as Dolphy's _Out to Lunch_, Hill's _Point of Departure_ & Moncur's _Evolution_.
& yet I find this an album easier to admire than love (unlike those last three discs I named). Part of the problem is that often the musicians are on instruments I don't especially enjoy hearing them on. Sam Rivers is on flute for two tracks, bass clarinet for one (the long title-track); & Hutcherson is using marimba for half the album. "Catta" is the strongest, most distinctive composition here, the creation of Andrew Hill: it's in 8/8 time, with a grinding repetitive piano accompaniment which is actually often rather more absorbing than the solos over top of it (Rivers is in rather middling form here; Hubbard & Hutcherson much better). The dissonantly harmonized waltz "Idle While", the soulful "Ghetto Lights" & the quite straightforward blues "Jasper" (an outtake from the session, for some reason--it could easily have fit on the original LP) are likeable; but I find the two "free" tracks, "Les Noirs Marchant" & "Dialogue", rather tough going. They are interesting for being quite unlike what anyone else what doing in free jazz at that moment, their spacious interplay anticipating European free-improv rather than being at all like the work of Ayler, Coleman & Coltrane.
... Read more ›6 of 6 people found the following review helpful
Format:Audio CD
Blue Note is often credited with a 'different approach' to 60's avant garde jazz. The difference, I would say, is due to a more studied, cerebral quality among the Blue Note issues.
Hutcherson himself credits the expansive mood prevalent in New York City at the time--a willingness to 'cross-pollinate' art forms typified by the outdoor 'happenings' that were part of the scene.
This record, "Dialogue", has the feel of synchronicity: six players on the same wavelength. The core of the record is formed by the two tracks, "Les Nois Marchant" and "Dialogue" which dovetail into each other seamlessly, with the feel of exploratory 20th Century chamber music. The ragtag processional, "Marchant" has a bit lighter mood than "Dialogue", which revolves around a repeated, stalking bass line.
The rest of the record, frankly, seems haunted by the ghost of Eric Dolphy. One wonders if he would have participated in the sessions, had he not met an untimely death. "Idle While" sounds very like "Ode to Charlie Parker" from Dolphy's "Far Cry", although Hutcherson's floating vibes provide a supranormal glow to the piece. Sam Rivers provides Dolphyesque bass clarinet to the slightly off kilter blues, "Ghetto Lights", as well as a great, laid back soprano sax solo.
Much of the music here anticipates directions that music would take in the next decade, predating the Art Ensemble of Chicago's forays into 'little instruments', and British progressive rockers like King Crimson openly acknowledge that they were listening to the Blue Note releases. They would certainly have heard this one, because King Crimson improvs were very similar in feel to this.
The musicians on "Dialogue" are uniformly great.... Read more ›
Hutcherson himself credits the expansive mood prevalent in New York City at the time--a willingness to 'cross-pollinate' art forms typified by the outdoor 'happenings' that were part of the scene.
This record, "Dialogue", has the feel of synchronicity: six players on the same wavelength. The core of the record is formed by the two tracks, "Les Nois Marchant" and "Dialogue" which dovetail into each other seamlessly, with the feel of exploratory 20th Century chamber music. The ragtag processional, "Marchant" has a bit lighter mood than "Dialogue", which revolves around a repeated, stalking bass line.
The rest of the record, frankly, seems haunted by the ghost of Eric Dolphy. One wonders if he would have participated in the sessions, had he not met an untimely death. "Idle While" sounds very like "Ode to Charlie Parker" from Dolphy's "Far Cry", although Hutcherson's floating vibes provide a supranormal glow to the piece. Sam Rivers provides Dolphyesque bass clarinet to the slightly off kilter blues, "Ghetto Lights", as well as a great, laid back soprano sax solo.
Much of the music here anticipates directions that music would take in the next decade, predating the Art Ensemble of Chicago's forays into 'little instruments', and British progressive rockers like King Crimson openly acknowledge that they were listening to the Blue Note releases. They would certainly have heard this one, because King Crimson improvs were very similar in feel to this.
The musicians on "Dialogue" are uniformly great.... Read more ›
Most Recent Customer Reviews
2.0 out of 5 stars
Dissonance galore
Too much for me. Maybe it's called improve.
Six more words required to submit. Six, five, four, three, two, one.
Six more words required to submit. Six, five, four, three, two, one.
Published 6 months ago by Mike
4.0 out of 5 stars
Excellent
Bobby Hutcherson is one of those musician's musicians you just can't pin down, He starts his career doing hard bop. Read more
Published on October 7, 2009 by Bill Your 'Free Form FM Print DJ
4.0 out of 5 stars
Love the Andrew Hill Compositions!
This disc gathers the three players who pushed Blue Note jazz furthest in the direction of the avant garde in the late 1960s: Hutcherson on vibes, Andrew Hill on piano, and Sam... Read more
Published on May 9, 2008 by Ryan Wepler
5.0 out of 5 stars
One of Blue Note's Finest
While Blue Note may have been known during the early-to-mid 60s for its string of soul-flavored boogaloo records, there was also during that same period an outpouring of forward... Read more
Published on December 19, 2006 by Paul R. Greene Jr.
5.0 out of 5 stars
Spectacular, mysterious and addictive...
'Dialogue' is one of the most listenable of the mid-sixties avante-garde Blue Note dates. Comparisons are drawn here and elsewhere to Dolphy's 'Out to Lunch' and Hill's 'Point of... Read more
Published on July 9, 2005 by Robert Bezimienny
5.0 out of 5 stars
Completes the Blue Note triumvirate of the avant-garde
Many people mention this album in the same breath as Eric Dolphy's Out to Lunch and Andrew Hill's Point of Departure, and true, the similarities are striking. Read more
Published on March 25, 2005 by Matt Bailey
5.0 out of 5 stars
A classic!
This is mostly an Adrew Hill date, he provides most of the compositions and when comparing it with other dates by him, it is evident that he was the man behind this date. Read more
Published on October 28, 2004 by Blues Bro
5.0 out of 5 stars
The piano blurs notes on the last track
Has Blue Note fixed this problem yet? Great music nonetheless.
Published on January 15, 2003 by aaron
5.0 out of 5 stars
Fantastic, fractured jazz
This is one of those albums that will remind you why you started listening to Jazz inthe first place. Read more
Published on January 30, 2002 by John Kincaid
