HEAD ON (1971) is the most ambitious and adventurous work in Bobby Hutcherson's discography. Though the composer/bandleader/vibraphonist did contribute one tune ("Mtume"), HEAD ON mostly features the ambitious compositions and arrangements of Todd Cochran, who also plays piano on the session. The resulting music is dense and polyrhythmic, and bracing, drawing parallels to Miles Davis's BITCHES BREW and other first wave fusion albums. Cochran arranges for the 18-piece group here with a mad scientist's zeal but still manages to create precise orchestral textures. Elements of chamber music and funk abound, and Hutcherson's clear, cool marimba and vibraphone work shimmers throughout. This release marks the album's first appearance on CD, giving Hutcherson fans reason to rejoice.

These 26 sides originally issued under the name of trumpeter Joe Morris have a lot going for them, but the main reason to get yourself a copy of this disc and play it really loud for the entire neighborhood is the continued presence of young Johnny Griffin blowing tenor sax like there's no tomorrow. On six sides cut for the Manor label in 1946, Griff cuts up in the manner of Lockjaw Davis, hammering away with abandon. Although the adventuresome electric guitarist is unidentified, he sounds like he might be George Freeman, who was present on the Atlantic sessions of December 1947. Here the bop element has set in a bit further, mingling powerfully with the R&B energies. Morris sings once in a while, scatting almost alarmingly on the rowdy opus simply called "Wow" and screaming like a banshee at the beginning of "Applejack." Beginning in September of 1948 the jazz players really start to file in -- Elmo Hope, Percy Heath, and Philly Joe Jones -- and every early modern jazz enthusiast will want to dive in and paddle around in these old Atlantic and Decca recordings. Check out Philly Joe's percussion and Griff's inspired improvising on "Tia Juana." Joe Morris blew fine trumpet and was a capable vocalist, but what makes this reissue so exciting is the presence of Johnny Griffin and a small pack of guys who were each getting ready to revolutionize the art of jazz. ~ arwulf arwulf

Producer, arranger, and engineer David Axelrod made his mark with Cannonball Adderley, Lou Rawls, and the Electric Prunes. Song of Innocence made critics turn their heads in its day, regarding it as a visionary curiosity piece; today it's simply a great, timeless work of pop art that continues to inspire over three decades after its initial release. EMI. 1999.