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Bobby Hutcherson (born January 27 1941) is a jazz percussionist playing on the vibraphone and marimba. During the 1960s he was a part of New York's hard bop scene and recorded on many Blue Note Records releases, including Eric Dolphy's famous album Out to Lunch. He currently lives in the San Francisco Bay area, where he has lived for more than thirty years.

Biography
Raised in South Carolina?

Bobby Hutcherson was born January 27, 1941 in Los Angeles, California. Hutcherson first became interested in jazz at age thirteen after hearing Milt Jackson performing on the album "Giants of Jazz" with Miles Davis, Thelonious Monk, Percy Heath and Kenny Clarke. Influenced by Jackson's playing on vibraphone, he began playing at school while receiving advice on technique from Dave Pike and a local pianist. Bobby would go to the nearby Dragonwyck club in Pasadena (where University of Southern California student Charles Lloyd also went) to see shows.

Hutcherson made his recording debut along with drummer Tony Williams in 1963 with Jackie McLean on the album One Step Beyond, a recording "in which the drummer's spontaneous surrealism enhances the mysterious abstractions of the vibraharp sounds." Both Williams and Hutcherson had been brought to Blue Note Records by McLean.

During the early 1960s Bobby became a member of a sextet led by Al Grey and Billy Mitchell and appeared on Idle Moments by Grant Green in 1963, this being the first time he had recorded with saxophonist Joe Henderson. In the mid 1960s Hutcherson teamed up with saxophone player Archie Shepp, the two making their first recording at the Newport Jazz Festival. Of their collaborations, writer Ekkehard Jost has written that "Shepp's playing is a great deal more restrained, his tone more subtle and his dynamic gradations more differentiated."

He made his recording debut as leader for Blue Note Records in 1965

In 1969 he recorded with Stanley Cowell in a sextet

Hutcherson became a member of pianist John Lewis's New Jazz Quartet in 1982, prompting some critics to describe his playing during this period as a near exact replication of Milt Jackson's playing style. The 1970s and 1980s proved to be rather unadventurous for him, though by the 1990s he began recording more innovative work for the Landmark label.