Pairing of Hutcherson, Blanchard Spans History

The Carpenter Performing Arts Center came up with a first-rate program Friday night. By pairing the Bobby Hutcherson Quartet with the Terence Blanchard Quintet, the venue offered a view of jazz reaching across four decades.

Hutcherson is justifiably viewed as one of the jazz world’s seminal vibraphonists. At 60, he hasn’t lost a whisper of his high-speed technique or his ability to coax a panoply of sounds from what can be an extremely intransigent instrument. Performing with pianist Greg Kursten, bassist Tony Dumas and drummer Ralph Penland, Hutcherson whizzed through a program of standards--”That Old Devil Moon,” “My Foolish Heart” and “Without You” among them. Adding the mellow sounds of a marimba to his more typical vibraphone, he moved easily between both instruments, using their contrasting tones imaginatively. Between songs--as well as at the start of his program, which followed a fire-alarm evacuation of the hall--he was a witty and humorous commentator.

Trumpeter Blanchard, 21 years younger than Hutcherson, was an equally amiable performer, interacting pleasantly with the crowd throughout his set. And it was intriguing to hear his more contemporary take on the bebop style that is at the heart of Hutcherson’s music as well. Working with tenor saxophonist Brice Winston, bassist Derek Nievergelt, pianist Ed Simon and drummer Eric Harland, Blanchard sounded a bit more reserved than usual--a manifestation, perhaps, of an extremely busy schedule.

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Much of his program was dedicated to instrumental interpretations of material from his latest album, “Let’s Get Lost,” which--on the CD version--features performances by singers Diana Krall, Jane Monheit, Dianne Reeves and Cassandra Wilson. Typically, Blanchard offered a sequence of articulate and thoughtful improvisations. But it was pianist Simon, a far too underappreciated artist, who appeared to be most in touch with the energies of the music.

Unfortunately, neither group was aided by the poor audio quality of the program. Blanchard’s group suffered less, but the work of the Hutcherson quartet was seriously damaged by a sound mix that pushed Dumas’ bass well beyond the level of every other instrument, often overwhelming the sound of Hutcherson’s vibraphone.

Nor was this the first occasion at Carpenter in which a rock-music-style mix has distorted a jazz presentation. Given its apparent interest in jazz programming, the management would be wise to give more careful consideration to the appropriate audio presentation of the music.