Happenings is the first album to present Hutcherson as the featured soloist fronting a conventional rhythm section, instead of amongst the experimentally-inclined sextets and quintets he'd led and guested with before. These had produced, most notably, Eric Dolphy's Out To Lunch (Blue Note, 1964) and Hutcherson's own Dialogue (Blue Note, 1965), the latter featuring two new thing auteurs in pianist Andrew Hill and saxophonist Sam Rivers.
More tellingly, the choice of material on Happenings makes for a safer, more mainstream affair than its predecessors. Previously, Hutcherson had either guested with premier league composers like Dolphy, Archie Shepp and Grachan Moncur III, or—with his own bands—relied on other writers (Dialogue was almost entirely written by Hill).
Here all but one of the tunes (pianist Herbie Hancock's "Maiden Voyage") are unremarkable, in-the-tradition Hutcherson originals. With the exception of "The Omen," an ambitious, wannabe-conservatoire construction which isn't convincing, they're a competent but derivative mix of swingers, ballads and Latin tunes.
There is, however, some great playing on Happenings. Hancock's stomping, cluster-chord chromaticism on the opening "Aquarian Moon" is a highlight, as is Hutcherson's own solo on "Maiden Voyage," a track also distinguished by drummer Joe Chambers' metronomic but magically propulsive, centre-of-the-cymbal stick work. "When You Are Near," a classy ballad (though one in search of a good bridge), is arguably the strongest Hutcherson original. But at less than four minutes, it is, perversely, by far the shortest track.
A year and a half after Happenings, Hutcherson, Hancock and Chambers returned to similar territory with Oblique (Blue Note, 1967). Crucially, half the six tracks were written by Hancock and the magnificently quirky Chambers, and the music was raised several storeys as a result.
History rarely runs in an entirely straight line. In the midst of his early-1960s avant-garde endeavours, Hutcherson was a featured soloist in the sextet that recorded Grant Green's exquisitely mellifluous Idle Moments (Blue Note, 1963). Hutcherson revealed himself as a formidable mainstream lyricist, and Happenings, Oblique and much of the work that has followed can be traced back at least as far as Green's album.
More tellingly, the choice of material on Happenings makes for a safer, more mainstream affair than its predecessors. Previously, Hutcherson had either guested with premier league composers like Dolphy, Archie Shepp and Grachan Moncur III, or—with his own bands—relied on other writers (Dialogue was almost entirely written by Hill).
Here all but one of the tunes (pianist Herbie Hancock's "Maiden Voyage") are unremarkable, in-the-tradition Hutcherson originals. With the exception of "The Omen," an ambitious, wannabe-conservatoire construction which isn't convincing, they're a competent but derivative mix of swingers, ballads and Latin tunes.
There is, however, some great playing on Happenings. Hancock's stomping, cluster-chord chromaticism on the opening "Aquarian Moon" is a highlight, as is Hutcherson's own solo on "Maiden Voyage," a track also distinguished by drummer Joe Chambers' metronomic but magically propulsive, centre-of-the-cymbal stick work. "When You Are Near," a classy ballad (though one in search of a good bridge), is arguably the strongest Hutcherson original. But at less than four minutes, it is, perversely, by far the shortest track.
A year and a half after Happenings, Hutcherson, Hancock and Chambers returned to similar territory with Oblique (Blue Note, 1967). Crucially, half the six tracks were written by Hancock and the magnificently quirky Chambers, and the music was raised several storeys as a result.
History rarely runs in an entirely straight line. In the midst of his early-1960s avant-garde endeavours, Hutcherson was a featured soloist in the sextet that recorded Grant Green's exquisitely mellifluous Idle Moments (Blue Note, 1963). Hutcherson revealed himself as a formidable mainstream lyricist, and Happenings, Oblique and much of the work that has followed can be traced back at least as far as Green's album.
https://www.allaboutjazz.com/happenings-bobby-hutcherson-blue-note-records-review-by-chris-may.php
Traducción Automática:
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Traducción Automática:
Happenings
es el primer álbum en presentar a Hutcherson como el solista destacado
al frente de una sección de ritmo convencional, en lugar de entre los
sextetos y quintetos con tendencias experimentales que él había dirigido
e invitado antes. Éstos
habían producido, sobre todo, Out To Lunch (Blue Note, 1964) de Eric
Dolphy y el propio Diálogo (Blue Note, 1965) de Hutcherson, este último
con dos autores nuevos en el pianista Andrew Hill y el saxofonista Sam
Rivers.De
manera más reveladora, la elección del material sobre Acontecimientos
hace que sea un asunto más seguro y más convencional que sus
predecesores. Anteriormente,
Hutcherson había invitado con compositores de primera clase como
Dolphy, Archie Shepp y Grachan Moncur III o, con sus propias bandas,
confiaba en otros escritores (Dialogue fue escrito casi en su totalidad
por Hill).Aquí,
todas menos una de las melodías ("Maiden Voyage" de la pianista Herbie
Hancock) son originales de Hutcherson, tradicionales en la tradición. Con
la excepción de "The Omen", una construcción ambiciosa, aspirante a
conservador que no es convincente, son una combinación competente pero
derivada de swingers, baladas y melodías latinas.Hay, sin embargo, algunos grandes juegos en Happenings. El
pisotón de Hancock, el cromaticismo de grupo en la apertura "Aquarian
Moon" es un punto culminante, como lo es el propio solo de Hutcherson en
"Maiden Voyage", una pista que también se distingue por el metronómico
baterista de Joe Chambers, centro de los platillos. trabajo de palo "When
You Are Near", una balada con clase (aunque una en busca de un buen
puente), es posiblemente el original más fuerte de Hutcherson. Pero a menos de cuatro minutos, es, perversamente, la pista más corta.Un
año y medio después de Happenings, Hutcherson, Hancock y Chambers
regresaron a un territorio similar con Oblique (Blue Note, 1967). De
manera crucial, la mitad de las seis pistas fueron escritas por Hancock
y las magníficamente extravagantes Chambers, y la música se elevó a
varios pisos como resultado.La historia rara vez corre en línea recta. En
medio de sus esfuerzos vanguardistas de los primeros años de la década
de 1960, Hutcherson era un solista destacado en el sexteto que grababa
los Momentos idéleos exquisitamente melifluos de Grant Green (Blue Note,
1963). Hutcherson
se reveló a sí mismo como un formidable letrista principal, y
Happenings, Oblique y gran parte del trabajo que siguió se remontan al
menos hasta el álbum de Green.
https://www.allaboutjazz.com/happenings-bobby-hutcherson-blue-note-records-review-by-chris-may.php
Tracks:
1. Aquarian Moon
2. Bouquet
3. Rojo
4. Maiden Voyage
5. Head Start
6. When You Are Near
7. The Omen
1. Aquarian Moon
2. Bouquet
3. Rojo
4. Maiden Voyage
5. Head Start
6. When You Are Near
7. The Omen
Credits:
Bobby Hutcherson (vib)
Herbie Hancock (p)
Bob Cranshaw (b)
Joe Chambers (ds)
Herbie Hancock (p)
Bob Cranshaw (b)
Joe Chambers (ds)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, Feb. 8, 1966
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