{"product_id":"bobby-hutcherson-montara-blue-note-tone-poet-series","title":"Bobby Hutcherson – Montara (Blue Note Tone Poet series)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWith the possible exception of Grover Washington's \u003cem\u003eFeels So Good\u003c\/em\u003e, no other album captured the spirit of jazz in 1975 like Bobby Hutcherson's Montara. Recorded in his hometown of L.A., \u003cem\u003eMontara\u003c\/em\u003e is the very sound of groove jazz coming out of fusion, and Latin jazz's tough salsa rhythms coming home to roost in something more warm and effluvial that would meet the populace where it was changing and mellowing out rather than making it sit up and take notice.\u003c\/p\u003e\n\u003cp\u003eThat said, \u003cem\u003eMontara\u003c\/em\u003e is, like the Washington record, a masterpiece of the genre even though it isn't celebrated in the same way. Featuring a stellar cast of musicians - among them Willie Bobo, Blue Mitchell, Bobby Matos, Ernie Watts, Harvey Mason, Plas Johnson, Fred Jackson, Larry Nash, and Chuck Domanico - \u003cem\u003eMontara\u003c\/em\u003e is a portrait of Hutcherson's complex gift of subtlety and virtuosity. \u003c\/p\u003e\n\u003cp\u003eWhether it's the funky Weather Report dance of \"Camel Rise,\" with Nash's electric piano and the horns weaving around one another in a soulful samba melody, the sweet soulful groove of the title track, where Hutcherson's solo lilts to the point of actually singing, the killer Cuban salsa of \"La Malanga,\" done in complete minor-key frenzy (all the while without losing the easy, slippery grace of soul-jazz), the shimmering echoplexed electric piano and vibes interplay on \"Love Song,\" or the steaming, burning gasoline orgy of Hutcherson's read of Santana's \"Oye Como Va,\" with a killer flute line by Watts winding its way through a knotty bassline and multi-part percussion, the effect is the same: blissed-out moving and grooving for a summer day.\u003c\/p\u003e\n\u003cp\u003eHutcherson's chameleon-like ability to shape-shift is truly remarkable as a sideman and especially as a leader. He never overplays, his charts are tight, and he always creates a band vibe. Almost all of his solo recordings reflect the strengths of the ensemble rather than his strengths as a soloist. Montara is one of the great feel-good jazz albums of the 1970s, one of the great Latin jazz albums of the 1970s, and one of the great groove jazz records. Seek it out without hesitation. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/montara-mw0000036961\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e—\u003cbr\u003eA high-water mark of Bobby Hutcherson’s remarkably creative and diverse 1970s Blue Note output, Montara is a feel-good album that found the great vibraphonist conjuring up an intoxicating hybrid of Latin jazz and fusion grooves. Recorded in Hutcherson’s hometown of Los Angeles, the album featured a talented cast of musicians including Willie Bobo, Blue Mitchell, Bobby Matos, Ernie Watts, Harvey Mason, Plas Johnson, Fred Jackson, Larry Nash, and Chuck Domanico. Hutcherson’s stunning virtuosity and nuanced musicality is on full display across this set that moves between the percolating rhythms of “La Malanga,” “Yuyo,” and “Oye Como Va” and the rich harmonies and alluring textures of “Montara,” “Love Song,” and “Little Angel.”\u003c\/p\u003e\n\u003cp\u003eAbout the Blue Note Tone Poet Series:\u003c\/p\u003e\n\u003cp\u003eThe Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels.\u003c\/p\u003e\n\u003cp\u003eExtreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.\u003c\/p\u003e\n\u003cp\u003eThis stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe tip-on jacket. — (via \u003ca href=\"https:\/\/store.bluenote.com\/products\/bobby-hutcherson-montara-lp-tone-poet-vinyl-series?srsltid=AfmBOorzR1ioDYRoM1XWiP7U0QbcBF4aafASIj_coHCv2q6StUztjPbP\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003c!--StartFragment --\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eBobby Hutcherson might be best-known for his albums in the post-bop and avant-garde jazz realm, but the vibraphonist always had a Latin tinge to his music. This came to a head on his 1975 album \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eMontara\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e, recorded with the cream of L.A.’s Latin percussionists and heavily sampled by hip-hop producers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eReleased in late 1975, Bobby Hutcherson’s \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eMontara\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e joined an incredible list of forward-thinking albums for Blue Note in that year including Donald Byrd’s \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eSpaces and Places\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e, Bobbi Humphrey’s \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eFancy Dancer\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e, Ronnie Foster’s \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eCheshire Cat\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e, Eddie Henderson’s \u003c\/span\u003e\u003cspan class=\"cf1\"\u003eSunburst\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e and Chico Hamilton’s \u003c\/span\u003e\u003cspan class=\"cf1\"\u003ePeregrination\u003c\/span\u003e\u003cspan class=\"cf0\"\u003es.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eMontara\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e\u003cem\u003e \u003c\/em\u003ewas the first Blue Note album produced by Dale \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eOehler\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e who had previously worked as arranger on Marvin Gaye’s \u003cem\u003eTrouble Man\u003c\/em\u003e before moving into jazz as conductor and arranger on Freddie Hubbard’s 1974 album \u003cem\u003eHigh Energy\u003c\/em\u003e. It would be one of four Hutcherson albums \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eOehler\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e produced for Blue Note alongside those of Marlena Shaw and Brazilian musician \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eMoacir\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e Santos. But the direction Hutcherson took on \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eMontara\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e was very much down to its Executive Producer, George Butler, who gets a special thanks on the back of the album for the “creative ideas [that] sparked the album”. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eArriving at Blue Note in 1971, Butler had steered Blue Note into jazz-funk and fusion with pivotal albums recorded with the Mizell Brothers, including Donald Byrd’s \u003cem\u003eBlack Byrd \u003c\/em\u003eand Bobbi Humphrey’s \u003cem\u003eBlacks and Blues\u003c\/em\u003e. These albums, and the aforementioned ones from 1975 that Butler worked on as Executive Producer, took Blue Note forward with music for the feet as much as the head. \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003eMontara\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e joined them as one of the great Latin Jazz records of the mid-1970s. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eAfter his post-bop, modal and avant-garde albums of the 1960s, Bobby Hutcherson had entered the 1970s with a roar on the political charged psychedelic jazz album \u003cem\u003eNow\u003c\/em\u003e. It was recorded with saxophonist Harold Land as was the fusion-leaning follow-up “San Francisco”. From the modal jazz of \u003cem\u003eCirrus\u003c\/em\u003e (1971) to the jazz-funk of \u003cem\u003eNatural Illusions\u003c\/em\u003e (1973), Hutcherson continued to jump between styles while expanding the language of the vibraphone in jazz. But he was still to fully explore his Latin tendencies. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eRecorded on August 12-14, 1975 at The Record Plant, in his home city of Los Angeles, \u003c\/span\u003e\u003cspan class=\"cf1\"\u003eMontara\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e \u003c\/span\u003e\u003cspan class=\"cf0\"\u003efound Hutcherson alternating between vibraphone and marimba, as he had done periodically since \u003c\/span\u003e\u003cspan class=\"cf1\"\u003eDialogue\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e in 1965. For the sessions he called on heavyweight players from the L.A. scene including trumpeter Blue Mitchell, electric pianist Larry Nash, bassist Chuck \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eDomanico\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e, saxophonist\/flautist Ernie Watts, drummer Harvey Mason and a serious percussion section of Willie Bobo, Bobby Matos, Ralph MacDonald, and Victor Pantoja. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eFellow Blue Note vibist Stefon Harris referred to Hutcherson as “by far the most harmonically advanced person to ever play the vibraphone.” The invention and fluidity Hutcherson had previously brought to post-bop and modal jazz were on full display on his most Latin-influenced album. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eThe album opens with the haunting and hypnotic “Camel Rise” composed by pianist George Gables and first recorded by Freddie Hubbard on his jazz-funk\/fusion album from 1974, “High Energy”. It’s followed by an equally atmospheric Hutcherson composition, the title track “\u003c\/span\u003e\u003cspan class=\"cf0\"\u003eMontara\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e”. Versioned by \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eMadlib\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e on his \u003cem\u003eShades of Blue\u003c\/em\u003e album from 2003, it features Hutcherson on beautifully melodic form on vibes and marimba augmented by the swirling Rhodes of Larry Nash. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eThis mellow opening is blown sky high by “(Se \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eAcabo\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e) La Malanga” a storming piece of Latin Jazz written by Cuban percussionist Rudy \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eCalzado\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e for the recently departed Eddie Palmieri on his 1975 album “Superimposition” for \u003c\/span\u003e\u003cspan class=\"cf0\"\u003eFania\u003c\/span\u003e\u003cspan class=\"cf0\"\u003e Records. Supported by his serious horn and percussion sections Hutcherson drops one of his heaviest ever solos. Things are brought back down by the meditative “Little Angel” composed by Colombian pianist Edy Mart\u003c\/span\u003e\u003cspan class=\"cf3\"\u003eínez for Mongo Santamaria on his 1972 album “Up From The Roots”. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf3\"\u003eThen comes the other Hutcherson composition, “\u003c\/span\u003e\u003cspan class=\"cf3\"\u003eYuyo\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e”, a seriously heavy slab of Latin Jazz that could have come from the \u003c\/span\u003e\u003cspan class=\"cf3\"\u003eFania\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e Records catalogue. The album closes with a version of Tito Puente’s “\u003c\/span\u003e\u003cspan class=\"cf3\"\u003eOye\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e Como \u003c\/span\u003e\u003cspan class=\"cf3\"\u003eVa\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e” made famous by Santana but Hutcherson certainly has a claim on the best ever cover. \u003c\/span\u003e\u003cspan class=\"cf0\"\u003e— (via Andy Thomas \/\/ \u003ca href=\"https:\/\/www.everythingjazz.com\/story\/the-latin-vibes-of-bobby-hutchersons-montara\/\" target=\"_blank\" rel=\"noopener\"\u003eEverything Jazz\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c!--EndFragment --\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/01GsxvwlAXZineSgxQXWR1?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Blue Note\u003cbr\u003eSeries: Blue Note Tone Poet Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 Gram\u003cbr\u003eReissued: 2025 \/ Original: 1975\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Fusion, Latin Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz \/\/ Blue Note Tone Poet Series\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records (Tone Poet series)","offers":[{"title":"Default Title","offer_id":46236257779870,"sku":"602478496738","price":70.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_c37af57a-293b-4800-a31d-0d92920e7793.jpg?v=1764342995","url":"https:\/\/theanalogvault.mom\/products\/bobby-hutcherson-montara-blue-note-tone-poet-series","provider":"The Analog Vault","version":"1.0","type":"link"}