On this great, accessible post-bop album released in 1966 (and featuring a great cover), Bobby Hutcherson is joined by jazz legends Joe Henderson and McCoy Tyner. Tyner, known as the pianist for John Coltrane's legendary quartet, brings in Coltrane-esque influences and his own stamp of piano block chords, especially on "Verse," which sounds like Coltrane's "Spiritual." Hutcherson's vibes and Billy Higgins' expert drumming also enhance the Caribbean and Latin influences on Ornette Coleman's original composition, which was disjointed and lacked the bop-oriented groove one finds on Hutcherson's excellent cover. Joe Henderson's tenor sax is also bringing the hard-bop, bluesy flavor to "Una Muy Bonita," making what was surprisingly melodic and danceable in the Coleman original to something one must get down to. Unfortunately, it lacks the original's sweet, Caribbean folk-inflected improvisation from Ornette's alto sax or Billy Higgins' freer drumming on the Coleman take, but nevertheless brings some blues into the piece. McCoy Tyner's piano solo also brings some soul and his characteristic block chords on one hand, and great single note soloing with the other.
In addition to bringing some more accessible takes on an Ornette Coleman classic, "Verse" exemplifies McCoy Tyner's and Coltrane's influence. The original "Spiritual," based on a lesser-known arrangement of "Nobody Knows the Trouble I See," uses the same vamp present in "Verse," which cannot be a coincidence. Likewise, both begin with religious, church-inspired intros before entering into the melody with what sounds like the same bassline. Hutcherson begins the solos with a searching tone, bringing to mind one looking resolutely for spiritual enlightenment or deliverance. Billy Higgins drumming on the song also sounds eerily similar to Elvin Jones on Coltrane's original, which is not a band thing at all since Jones contributed such a unique, polyrhythmic approach to jazz percussion that used the entire drumset and incorporated Latin or other influences. Tyner, as usual, excels as an accompanist with the chords for the vamp during Joe Henderson's solo, which is quite distinct from John Coltrane in tone but clearly carrying on the Coltrane approach to modal compositions. Tyner's proceeding piano solo also resembles his playing on Coltrane's multiple takes of "Spiritual," though not emphasizing blues-inspired licks he used in some live recordings.
Other memorable and interesting tracks include "Summer Night," "8/4 Beat," and "Black Circle." The first is a lovely ballad where Hutcherson shows off his skills on the vibraphone in slow number. Tyner accompanies him excellently, and both come together excellently when stating the melody, really making one wish that Tyner and Hutcherson recorded together more often (Andrew Hill, another brilliant jazz pianist recorded more often with Hutcherson, essentially writing most of Hutcherson's acclaimed Dialogue). Beautiful playing by both makes this piece stick to one's ears like glue. "8/4 Beat" on the other hand is a swinging tune with a short theme and played at a frantic tempo, as alluded to by the song's title. Henderson begins the solos here with some great playing, that like other solos in the song, avoids atonality. Indeed, this is also an almost danceable number, with Hutcherson's solo after Henderson's playing around with the melody of the piece.
"Black Circle," on the other hand, is a more difficult piece that requires more concentration from the listener and uses an odd, disjointed theme one associates with post-bop and freer jazz. Henderson's beginning solo, however, soars at the song's fast tempo and remains accessible. Tyner's solo takes the song in interesting directions with different twists and turns an a willingness to play outside of the melody that may strike others as too much. In truth, his solo is the best moment on the song, featuring colorations from Billy Higgins, who gets a little solo afterwards that is actually melodic and shows off his skills. The final song, "Blues Mind Matter," a short bluesy piece also influenced by Coltrane in Henderson's solo.
Overall, an interesting post-bop album that straddles the world of hard bop and more experimental, newer trends in 1960s jazz. Tyner and Henderson also bring in influences from Coltrane and Wayne Shorter's styles, surprisingly fusing well with the bop-oriented styles and compositions of other musicians in the session. Furthermore, it is always interesting to see how someone interprets an Ornette Coleman song, and Hutcherson's take, while diverging clearly in some ways, remains loyal to the spirit of the original's Latin inflections. Fans of this album should check out other Bobby Hutcherson albums as well as looking into Andrew Hill, especially his Black Fire.
- "Una Muy Bonita" (Ornette Coleman) - http://www.youtube.com/watch?v=vdzTWHEdTLQ&
- "8/4 Beat" - http://www.youtube.com/watch?v=gSJeSFH1b3s
- "Summer Nights" - http://www.youtube.com/watch?v=fnWLvo9nRXk
- "Black Circle" - http://www.youtube.com/watch?v=NYk1G9j9uh0
- "Verse" - http://www.youtube.com/watch?v=BEYzxzrg2D4
- "Blues Mind Matter" - http://www.youtube.com/watch?v=YtwYNr8FR1E
Great live versions of "Spiritual" featuring Eric Dolphy's bass clarinet.
Ornette Coleman's "Una Muy Bonita"
Sonny Rollins' "Saint Thomas" is another great instance of Caribbean-influenced jazz, featuring a memorable Max Roach drum solo.
Bobby Hutcherson's work with Andrew Hill includes several jazz jams favored by the author.
"Ghetto Lights" http://www.youtube.com/watch?v=b2mYaOkKQtI
Joe Henderson's "Caribbean Fire Dance" to hear him play in another Latin/Caribbean-influenced piece
Charlie Parker's "Barbados" is really a blues with Latin rhythms brought by Max Roach. Probably not Barbadian but rooted in Afro-Cuban music.
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