1. Components by Bobby Hutcherson 1965
Great Lp by a great vibist.
The compositions
Hutcherson describes “Tranquillity” as “so tranquil as to almost suggest no time at all.” “Little B’s Poem” was written for Bobby’s son, Barry, three years old at the time. “The melodic line reminds me of how he used to play.” “West 22nd Street Theme”, which closes side one, is a reference to a Manhattan section near the 10th Ave, Chelsea, where Hutcherson lived for a while. It is a depiction of some guys who used to be on Hutcherson’s doorstep, stoned. “It’s a blues,” says Hutcherson, “but the changes are different than the usual blues chords.”
Side two features Chambers originals. “Movement” is “like a six-part theme constantly in motion, held together by a pulse.” It was described by Nat Hentoff as a piece where “different listeners can find widely different visions.” About “Air”, Chambers says: “Once that’s set, they all jump into free counterpoint. As in all the pieces, each voice has to remain independent but in relationship to what’s going on around him.” “Pastoral” signifies a comeback to a kind of primitive setting, “as if to say to the listener ‘This is what we come back to - the familiar, the beginning’.”
Personnel
Bobby Hutcherson - vibraphone
James Spaulding - alto saxophone, flute
Freddie Hubbard - trumpet
Herbie Hancock - piano
Ron Carter - bass
Joe Chambers - drums

    Components by Bobby Hutcherson 1965

    Great Lp by a great vibist.

    The compositions

    Hutcherson describes “Tranquillity” as “so tranquil as to almost suggest no time at all.” “Little B’s Poem” was written for Bobby’s son, Barry, three years old at the time. “The melodic line reminds me of how he used to play.” “West 22nd Street Theme”, which closes side one, is a reference to a Manhattan section near the 10th Ave, Chelsea, where Hutcherson lived for a while. It is a depiction of some guys who used to be on Hutcherson’s doorstep, stoned. “It’s a blues,” says Hutcherson, “but the changes are different than the usual blues chords.”

    Side two features Chambers originals. “Movement” is “like a six-part theme constantly in motion, held together by a pulse.” It was described by Nat Hentoff as a piece where “different listeners can find widely different visions.” About “Air”, Chambers says: “Once that’s set, they all jump into free counterpoint. As in all the pieces, each voice has to remain independent but in relationship to what’s going on around him.” “Pastoral” signifies a comeback to a kind of primitive setting, “as if to say to the listener ‘This is what we come back to - the familiar, the beginning’.”

    Personnel

Notes

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