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The problem with Oblique Tone Poet is not the price, it is the supply. (Is this getting personal?) Hutcherson’s most collectable album is his other quartet title, Happenings, which sells for as much as $600. Only a half dozen copies offered on Discogs, usual aftermarket pricing ▲▲▲, no copies from UK sellers and four of the six overseas sellers won’t post to UK. Stinson became missing permanently following a drug overdose in June 1969, at the age of only 24.Ĭollector’s Market Report: Released in November 2020, the Tone Poet edition of Oblique is out of stock on my Amazon. Stinson’s brief recording career included time with Chico Hamilton, Joe Pass/Clare Fischer Catch Me sessions for Pacific Jazz, Miles Davis Live at University of California 1967 and with Charles Lloyd Quintet, Nirvana (1968). The missing player in the session shoot is bassist Albert Stinson, perhaps he stepped out to powder his nose. Herbie Hancock, Ronnie Scotts, London, 1971 While London was “swinging”, Antibes swung more. The right time and the right place, Harry M has the pictures. Two frames were filled by another shot of Hutcherson in a slightly awkward tall crop. It looks like they didn’t have a lot of pictures to work with from this session, and none of Albert Stinson (See Collector’s Corner) Having shots of only three members of a quartet to fill four frames is a design problem with no easy solution. The mastering is perfectly judged, a classic session finally given the vinyl presentation it deserves.
#NIKON SCAN 9000 FULL#
A very quiet noise floor and wide placement of instruments, musicians in the room, full dynamic and tonal range (thank you Rudy). Mastered from the original master tape by Kevin Gray. Vinyl : Blue Note Tone Poet 31963 (no catalogue number on label) To sample the “furthest out track”, Bi-Sectional from Joe Chambers:Īll the other tracks are available on Youtube, taken from the 2005 CD edition. It sounds great, demands and repays active listening. It features strong musical personalities, in their performing and in their compositions. Oblique is an exemplar of the art of intelligent collective improvisation. “Hutcherson, a harmonically sophisticated and intense performer, can rarely have played better, and Hancock is as significant an ensemble player as he is a soloist.” John Fordham (Jazz critic, The Guardian): It’s soft and sensual, with a swirling sensation, aided by the soft shimmers of Chambers and pulse of Stinson’s bass.” The music is elegant and seems to glide rather than swing. Hutcherson’s ringing vibes and Hancock’s hypnotic chord riffs have a lavishly sophisticated sound. “The sound of Hutcherson and Hancock together is otherworldly. The critics, who are better with words than me, say this: Not really the correct setting for Hancock’s Theme but a good nostalgic sample of Swinging London and its Carnaby Street preoccupation with fashion models.īut back to Oblique. The most disturbing part of the Yardbird’s sequence is the blank expressions of the club audience, passive, like human sponges. Hemmings in the crowd seizes a trophy broken guitar neck, subsequently only to discard it, a film metaphor for the futility of… something, superficial nihilsm, also very ’60s, but it won over the Cannes jury. Beck smashes up his guitar, all very ’60s. Seamless link, Michelangelo Antonioni’s film Blow Up (winner, Cannes Palme d’Or 1966) : David Hemmings drives a Rolls Royce Silver Cloud drop-head coupé through London streets, and we see another iconic piece of 60s engineering, a Nikon F1 camera.Įn routee, ban the bomb protesters wave signs, fashion photoshoots with ultimate pro-toy Hasselblad using real film, a lot of Vanessa Redgrave’s back, and a British R&B shoe-in of The Yardbirds – Jeff Beck and Jimmy Page together briefly in 1966. Theme From Blow Up, Hancock’s modal repeating vamp has overtones of Maiden Voyage. Hutcherson throws in a samba, and more conventional groundwork for fiery interchanges and solos.
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Chambers offers “ daring symphonies-in-miniature“. The line up presents a percussion triple threat: percussive piano, percussive mallets, percussive percussion, a three way dialogue with Chambers, freed from timekeeping.Īn added dimension of the album is the cross-section of composer’s styles.
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Hancock has conversation mode enabled, sparking complex changes of tempo and direction within the quartet. Opening waltz, tinkling children’s music box gives way to an up-tempo groove, Hutcherson and Hancock sparring, great Stinson bass solo to finishīobby Hutcherson, vibes (and drums on Bi-Sectional) Herbie Hancock, piano Albert Stinson, bass Joe Chambers, drums, gong, tympani, recorded for Liberty at Van Gelder Studio, Englewood Cliffs, NJ, Jfirst issued in 1979.Īs in Happenings (1966), a hornless quartet format puts Hutcherson squarely in the front line.