Customer Reviews

Oblique

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4 star:		(1)
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1 star:		(1)

 

 

This remarkable 1967 recording, previously only available as a Japanese import, can be seen as a follow-up to the brilliant quartet setting of Hutcherson's "Happenings," with the virtuosic and tragically short-lived Albert Stinson replacing Bob Cranshaw on bass. Of particular strength is the cut "My Joy," which begins by pairing a delicate, haunting melody in triple meter against drummer Joe Chambers' backbeat of "four," then suddenly morphs into something dissonant, fast-paced and furious. Fans of Herbie Hancock will appreciate the inclusion of his catchy and propulsive "Theme from Blow Up," evocative of "Maiden Voyage," and will enjoy his lyrical soloing on the Hutcherson-penned bossa "Til Then," bringing to mind his sublime "Speak Like a Child." This is an album of profound depth and beauty.

Bobby Hutcherson's "Dialogue" is an undisputed modern jazz masterpiece, but in the last twenty years, the average fan would have been hard pressed to locate a second Blue Note album by the vibraphonist. Yes, many of his albums have been available as limited edition titles in the Connoisseur Series, or briefly at the dawn of the CD era before drifting out-of-print. But only with the recent reissue of "Oblique" in the RVG Edition Series (with different cover art than the original CD I might add), has another Hutch disc finally received a permanent place in the EMI catalog. This July 21, 1967 session features three Hutcherson originals, Herbie Hancock's "Theme from Blow Up" -- the album's catchiest tune -- and two compositions by Joe Chambers, the title track and "Bi-Sectional." Chambers' writing talents have always amazed me for both their creativity and complexity (from a drummer, who knew?), and his contributions here are the album's best. However, Hutch's numbers have grown in stature as well from the days of "Components" and "Happenings" (he penned nothing on "Dialogue"), particularly on the opener "Til Then." Of final interest to jazz aficionados is the presence of Albert Stinson, a bass virtuoso who died of a drug overdose in 1969 and left us precious few recordings. A delightful disc, there is nothing oblique about "Oblique."

I once met Albert Stinson personally after hearing and marveling at his terrific bass playing with Chico Hamilton on records and live at a popular club/coffee shop that used to be located on Colorado Blvd in Pasadena Ca. back in the early '60's. Chico and Bobby Hutcherson and other giants like Phineus Newborn used to gig there often.
Now, here it is 2009 and I discover Albert is the bassist on Bobby's Oblique album. They sound great here as do Herbie and Joe Chambers. These guys were in the forefront of the "New Thing" as we called it back then.
Albert was also Scott La Farro's roomate. Another giant cut down by this intense way of life. The life of a Jazz warrior! Listen with all of your circuits open. This music has an urgent quality that is hard to find anywhere at any time.

Bobby Hutcherson is one of the most exciting and influential vibraphonists in jazz. He's also a brilliant composer. This album wasn't released in 1967 when it was recorded which is hard to believe because it is right up there with the other ground breaking albums being put out by Andrew Hill, Joe Henderson, McCoy Tyner, etc.

Hutcherson can really open up your ears to what the vibes can do. Being schooled in the Milt Jackson tradition, one wouldn't even imagine the vibraphone in this setting, and no one did it like Bobby. When the rhythm section is getting heavier and more aggressive and Bobby plays his single note rolls the energy is really high. And of course, he can also bring out the beauty of the vibes for example, in the opening track, Til Then.

This album, which usually gets compared to Happenings because of the instrumentation and personel, is perhaps superior. Bobby, like Joe Henderson, had no trouble going in and out of various "styles" and "moods." The usual "free" piece, in this case Bi-Sectional and Oblique. And Bobby plays these tracks with perfect ease where the vibraphone's airy sound may get lost in this context. Not in this case. And Bobby's soulful feeling can be heard on Herbie Hancock's simple, but effective, Theme From Blow-Up.

This album is beautiful from start to finish. Bobby Hutcherson is a real musician. His genius can be heard on four decades worth of recordings, and Oblique should be right up there with the best of them.

This is a great album from the master of the vibes. It has it all. Some beautiful sounds - 'Til Then', 'My Joy'. Some avant garde - 'Oblique' and 'Bi-Sectional'. Bobby is great, but the supporting cast is awesome. Herbie Hancock as always, is fantastic. Joe Chambers provides the drive on drums, and also contributes a couple of fine compositions - 'Oblique' and 'Bi-Sectional'. I was not familiar with Albert Stinson, the bassist, but he has a beautiful, fat sound, much like Bob Cranshaw. What a tragedy that he died shortly after this recording. And that is another thing. The recorded sound is rich and detailed. This is one of the best 'RVG' editions. I put it up there with Hank Mobley's 'Soul Station' as far as sound quality. Maybe because it was a quartet too and there is more 'space' for the individual instruments. At any rate, musically and sonically, 'Oblique' is a treasure.

Hancock and Hutcherson fit together so well on this date that it sounds like a single man with four arms playing. The recording is also breathtaking: listen to it loud on a suuround system and you'll hear what I mean. Plus, "My Joy" and "Til' Then" are two of Hutcherson's best compositions. Equal parts thorny and exquisite. Not quite the masterpiece that "Dialogue" is, but why carp?

This is really beautiful music. Im not sure why it wasnt originally released until 13 years after the recording date. It deserved to have been released immediately. Herbie Hancock and Bobby complement each other perfectly. Bobby's vibes playing, particularly in the title tune, is technically and melodically beyond belief. He plays lines on the vibes that are exquisite and very demanding. Bi-Sectional features some very accessible free playing that is a joy to listen to. The bass playing of Albert Stinson is also of note. He plays brilliantly throughout the entire album and would have continued to had his life not been tragically cut short. Joe Chambers also provides excellent support and contributions to the set including 'Til Then. This song is of jazz standard quality. All in all, this album is, to use the well-worn cliche, excellent. To me it conjures up images of the night, and other unexplainable emotions. I cant tell you to buy it, but if you feel the way i do when you hear Bobby Hutcherson's vibes playing, you should.

This is a dog. Avoid. I was hopeful that this line up would entertain, but it's slow and weak compared to my Hutcherson favorites (The Kicker, Dialogue, Stick-up).