Bobby Hutcherson - Mirage (Landmark, 1991)

Bobby Hutcherson, vibes & marimba

Tommy Flanagan, piano
Peter Washington, bass
Billy Drummond, drums

Recorded February 15 & 18, 1991

BMG Recording Studio, NYC

Engineer: Paul Goodman

I have always been attracted to mallet instruments, mostly vibes and marimbas, and to the intrepid artists who commit to mastering such unwieldy devices. Gary Burton, Joe Locke, and Bobby Hutcherson are my favorites, despite their stylistic differences. Over his career, Hutcherson has embraced a variety of jazz styles including avant garde, fusion, Latin, and straight ahead. Whatever style he chooses, he puts his personal signature on the music.

Mirage teams Hutcherson with Tommy Flanagan, who was brought on board in part because they had never previously played together. Producer Orrin Keepnews was eager to add Flanagan as a special guest on Hutcherson's sixth (and last) album on the Landmark label. 

Mirage is a joyful album, kicked off by Barry Harris' "Nascimento," named for Brazilian singer and guitarist Milton Nascimento. Hutcherson employs marimba on the bossa-tinged samba. His original "Mirage" is taken next, followed by Flanagan's "Beyond the Bluebird," the title track to the pianist's album reviewed earlier in this blog. 

Hutcherson and Flanagan engage in two duets: Monk's "Pannonica" and the standard "Love Letters." "Pannonica," the longest tune on the album, stands out not only for its tasteful solos but also for the spontaneous exchange of song fragments near the end. "Love Letters," the shortest track on the album, is an unusual piano-marimba duet.

On "Zingaro," Hutcherson's solo is playful, as he explores the entire range of the marimba. Flanagan's solo is more elegant, providing an informative contrast between the two players' interpretations of Jobim's classic piece.

Billy Drummond's work at the drum kit is noteworthy because he varies his sound from track to track. When granted solo space on "Groundwork," he delivers an unusual yet highly musical solo. 

Most of the world will only know the digital format of Mirage. Most 1990s recordings were digitally recorded, playable as CD, Internet download, or streaming. 

A vinyl version of Mirage does exist, released in South Korea in 1994. I have never seen or heard it and don't wish to pay the asking price of about $90+ to buy it. I'll stay with my CD, which still plays as good as the day I bought it 35 years ago.

For my reviews of two Hutcherson albums from the 1980s, go to:

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