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Bobby Hutcherson: A Life In Jazz

Bobby Hutcherson: A Life In Jazz
AAJ Staff By

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This interview was first published at All About Jazz in February 1999.

Listen to any one of Bobby Hutcherson's albums for Blue Note during the mid-'60's and '70's, he made well over thirty, and you will see just why he is the best vibraphonist in jazz. Dialogue with Andrew Hill, Components with a fiery Joe Chambers, and Live at Montreux, all superb. It was a personal honor to get an opportunity to sit down and chat with Hutcherson. We spoke about his start, his early days in New York, and his new release on Verve, Skyline, in his own words.

All About Jazz: Let's start from the beginning.

Bobby Hutcherson: I had an older brother who used to go to school with Dexter Gordon. He was a cheerleader and Dexter was in the marching band over at Jefferson (High School) in Los Angeles. They used to be around me all the time, of course they were fifteen years older than me, but there was a lot of music around the house and because of them there was always a piano in the house. My sister was a singer. She's done a Broadway show and she did some concerts with Eric Dolphy, in fact, she was Eric Dolphy's girlfriend for awhile. I heard a record called The Giants of Jazz with Milt Jackson, and Miles (Davis), and Thelonious Monk, Percy Heath, and Kenny Clarke. I heard this tune called "Bemsha Swing," of course the music was all around me at this time, but when I was in junior high school, a friend of mine, Herbie Lewis, who plays bass, suggested if I get an instrument, I could play in his trio. We could play dances. I worked with my father who was a brick mason over the summer, saved my money, and bought a set of vibes, and we started playing dances.

AAJ: Was the vibraphone your instrument of choice?

BH: I used to sit around and play some piano, but only for my own enjoyment. I have an aunt who was a piano teacher combination preacher in the church, and the way that she demanded me to play the piano when I would come over for lessons, kind of, turned me off. It was a thing where I had to do it on my own. I had to want to play the piano, but the vibes came in when I heard Milt.

AAJ: During a twelve-year period, between 1965-1977, you must have recorded almost forty albums for Blue Note. What was your relationship with Alfred Lion's label?

BH: Alfred was always looking for something new. He was looking for fresh ideas. He was looking for a certain thing that he enjoyed. He would come out to all the clubs and he would sit there and listen. He'd say, 'I like this. I like what you're doing. I want to record this.' He liked young musicians. He liked older musicians. He could feel when there was a renaissance in music going on. He would hear there where certain things going on and he would have to make sure that he was there so he could be part of it. When he was in the studio, sitting in the studio, and Rudy Van Gelder was there, all the albums were recorded with him there, and you'd see him behind the glass and you could tell. He'd sit there and say, 'This is what I want. This is what I want.

Now, you're feeling good. You're feeling relaxed.' The things that were happening with me was, I was listening to all kinds of music. I had grown up listening to a lot of different music. I started listening to other instruments. I was constantly experimenting with different things. I was experimenting with voices. I was experimenting with different sounds, different combinations, different ways of writing, different voicings, and writing different voices, and writing from chords from the vibraphone to the piano, and applying notes and chords, taking out notes and chords, and finding these different types of sounds and trying different rhythms, and because of that it causes the music to continually sound fresh. There's a lot of those Blue Note albums, if you were to play them right now, they'd sound like there's no date on them. They sound like that's something that could have been recorded yesterday, mainly because a lot of the music would go to you mentally and you might say, 'I remember feeling like that. I remember that feeling. I remember waking up one day and I'd look out and the day looked like that. I remember that.' Those little things, when you relate to those things and at that point, well, the sun doesn't get old. It comes up everyday, but it comes up different everyday, so you remember these little feelings. You remember when you met someone on a certain day or when you sat in a restaurant and having a great dinner conversation. You remember how it felt when the candle was flickering against the face of the other person. You remember how the wind was, how it smelled. If you can bring back these little thoughts, then there is no date on music because it's just as nature. There is no date on nature.

AAJ: What makes an album timeless?

BH: One of the things is vulnerability. I'm very vulnerable. At any given time, there is that deep, dark hole. People like to see vulnerability.

Something bad happens and people want to see you be a good sport and they want to see you get off the canvas and shake everybody's hand. You say, 'Wow, that was a heck of a punch I just got punched with. I thought I knew it all, but I guess I don't.' I'm laying down here and I got sucker punched by a chord or a feeling, or something that I thought that I had full control over, but I didn't, and now I'm laying here. OK, let's be a good sport. Let's get up off the floor, and let's shake hands, and admit what happened, and let's go on, go on to the next, and try your best again, and try your best again. That's what life is about and people want to see that. People want to see that you went through this and you struggled, but you still are going after what you want to do and you're doing the best that you can. And yes, there is this beautiful moment that comes back, shining through again. Oh, well it slipped away for a second, but here it comes again. You can still feel the energy of being inside that sphere, of being tossed around and enjoying the wonderful moments of being in love. I certainly hope that that vulnerability aids me. At this point in my life, I realize all the more everyday that I'm just lucky to have another day and to be able to have some sort of a routine of applying myself towards going to the sphere that I want to live in.

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