Bobby Hutcherson: Oblique

It's so hard to understand why great albums weren't released soon after they were recorded. When the release of superb music was delayed by years, the reason was likely a marketing decision. The decision to delay a release may have been too many albums by the leader or sidemen already in stores. Or an album already out by the leader may selling through the roof and a new release hitting stores too soon would only undercut the former's sales. Or the energy level wasn't right for that moment in time. Or the artist was already on tour and wouldn't be able to go back out in support of the new album for an extended period.

Whatever the reason, Bobby Hutcherson's Oblique is another one of those terrific albums held back by Blue Note. Recorded in July 1967, the album didn't come until 1979. The recording featured Hutcherson (vib), Herbie Hancock (p), Albert Stinson (b) and Joe Chambers (d). It followed Hutcherson's Happenings, the one with the hot pink cover, recorded in February 1966 with the same group except for Bob Cranshaw on bass. Like Happenings, Oblique's tracks made rich use of modal scales and the individual personalities of each musician's approach.

The tracks were Hutcherson's 'Til Then and My Joy, Hancock's Theme from Blow Up, Hutcherson's Subtle Neptune and Chambers's Oblique and Bi-Sectional. Hutcherson and Hancock together were spectacular. Hutcherson's ringing vibes and Hancock's hypnotic chord riffs have a lavishly sophisticated sound. The music is elegant and seems to glide rather than swing. It's soft and sensual, with a swirling sensation, aided by Chambers and Stinson.

As I listened to the album yesterday, I couldn't help but marvel at how beautiful the music was—both the compositions and the textures of these artists together and exchanging ideas. I was reminded yet again that Hutcherson didn't record a bad album. A towering artist.

Bobby Hutcherson died in 2016.

JazzWax clips: Here's the entire album, track by track...