Stretching out in 1965, with John Gilmore, Joe Chambers and co, two extra percussionists, and two bassists on one track. Abstract, fierce, textured, compelling.

Booker Ervin! Mira!

A cor-blimey line-up, and a masterpiece, recorded on the first day of spring in 1964. Dorham, Dolphy, Joe Henderson, Richard Davis, Tony Williams.
‘Classic Vinyl Series.’ ‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.

‘Classic Vinyl Series.’

‘Classic vinyl.’

In the ‘Blue Note Classic Vinyl’ series.

‘Classic Vinyl.’

His first quartet session as leader — with Herbie, Joe Chambers and Bob Cranshaw. Seven BH originals and Maiden Voyage. A kind of breather, in amongst his experiments at this time; relaxed, gorgeous and atmospheric, with brilliant playing.
Warmly recommended.
‘Classic Vinyl series.’

From 1969, this first collaboration with Harold Land — questing but chilled post-bop — is probably the best.
Steeped in the compositions of Joe Chambers, the closer Pompeian is a tour de force; opening as a waltz, detouring into moody marimba.

‘Ultimate HQ CD’ from Japan, using the recent Craft transfers and mastering.

With Herbie, Joe Chambers and bassist Albert Stinson in 1967 (after Happenings). Smart, swinging, affective stuff. Theme From Blow Up gets a good seeing to.

Five-star business. With James Spaulding, Freddie Hubbard, Herbie Hancock, Ron Carter and Joe Chambers, in 1965. The first side is all Hutcherson compositions — including Little B’s Poem, his lovely signature tune, written for his toddler Barry — the second all Chambers’, more abstract and reaching.

From 1969, with Harold Land, Stanley Cowell, Reggie Johnson, and Joe Chambers, coolly charting a path all their own, out of the tumultuous decade.