Bobby HutchersonNow!

Label:Blue Note – BST-84333, Blue Note – BST 84333
Vinyl, LP, Album
Style:Post Bop


A1Slow Change7:10
A2Hello To The Wind
Written-ByGene McDaniels*, Joe Chambers
B1The Creators
Written-ByHerbie Lewis
B2Black Heroes
Written-ByHarold Land

Companies, etc.



Recorded at the A&R Studios, NYC, on October 3 & November 5, 1969.

Blue and white label with "Blue Note Records • A Division Of Liberty Records, Inc.".
Cover reads "© Liberty/UA, Inc. • Los Angeles, Calif.".

Published by:
Lonport Music Inc. (A1, A2)
Jo Cham Music Co. (A2)
Unart Music Corporation (A3)
Tove Publishing Co. (B1)
Harold Land Publishing (B2)

BST-84333 (on sleeve)
BST 84333 (on labels)

Barcode and Other Identifiers

  • Matrix / Runout (Label Side A): BNST 84333-A
  • Matrix / Runout (Runout Etched Side A): BNST-84333-1 CH
  • Matrix / Runout (Label Side B): BNST 84333-B
  • Matrix / Runout (Runout Etched Side B): BNST-84333-2 CH

Other Versions (5 of 11)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Now! (LP, Album)Blue Note, Blue NoteBST 84 333 K, BST–84333Germany1970
Recently Edited
Now! (LP, Album)Blue Note, Blue NoteBST 84333, BST–84333US1970
New Submission
Now! (LP, Album)Blue Note, Blue NoteBST-84333, BST 84333Japan1970
New Submission
Now! (LP, Album, Repress)Blue NoteBST-84333US1973
New Submission
Now! (CD, Album, Copy Protected, Limited Edition, Reissue, Remastered)Blue Note7243 8 66742 2 7Europe2004



  • Euphonics's avatar
    A lot of folks (some who know jazz and some who don't) will push Bitches Brew as this album that really changed jazz. They're definitely right in many respects. But what they get wrong is this idea that Miles was out there on his own doing things that nobody else was doing. That's not quite true, and this album is proof. Recorded in the Fall of 1969 (only a scant couple months after the Bitches recordings went down), this session contained some revolutionary and seriously intense explorations that rivaled anything that was going on in the big Columbia Studios.

    These boys were completely imbued with the spirit of the moment, consumed with the radical acceptance and evolving consciousness of Blackness in America. They were freeing their music of any Old Way tethers and getting DEEP into their own thing. The vocal chorus on tracks like "Slow Change" and "Black Heroes" speak their cause quite literally, but "The Creators" is really the revelation for me. Hearing this for the first time really spun me out. It sounds like Krautrock, full stop. It's a full-blown, jazz-infected psychedelic trip. Being based in NY a couple months after Woodstock (and Hutcherson himself even appearing in a major Hollywood film the same year) it's not hard to imagine there was acid floating around, and it definitely affected the way these cats were approaching their craft. I can't think of another track from this time period that arrives as wildly lysergic and authentically spiritual. Maybe Hendrix's "Voodoo Chile" or Coltrane's "Africa".

    At any rate, if you're concerned with jazz ethnography and wanna hear a major inflection point between jazz, funk and rock and roll, this is a stunning reference point that most archeologists overlook entirely. It's a shame none of Bobby's work gets the same retrospective attention as Headhunters or Bitches, because I'd bet there's a treasure trove of extra takes and jam sessions that have never seen the light of day. Glad we got this though.

    • hcarges's avatar
      Don't let the prospect of jazz vocals scare you off--this is a fantastic record, and Eugene McDaniel's vocals actually fit the music perfectly. Some pretty unique stuff for Hutcherson's catalogue, and the presence of Wally Richardson's occasionally fuzzed-out electric guitar is a surprisingly excellent compliment.


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