Jazz Articles about Freddie Hubbard

Freddie Hubbard: Fastball

by C. Michael Bailey
June 1, 2001

More Live at the Left Bank from the Hard Bop Trumpeting Dream, Freddie Hubbard.

Recorded April 23, 1967, this Freddie Hubbard recital offers an extended look at the trumpet wunderkind during a recording transitional period. Hubbard was just following his recording for Blue Note (with The Night of the Cookers: Live at Club La Marchal, Vols. 1 & 2, Blue Note 28882, 1965 with releases for Atlantic ( Backlash, Atlantic 1477, 1966, High Blues Pressure, Atlantic 1501, 1967. The urbane ...

Freddie Hubbard: New Colors

by AAJ Staff
May 1, 2001

The New Jazz Composers Octet, a New York scene collective of young players/composers dedicated to the ideal of new composition in jazz, here reaffirms their commitment to “new" jazz composition with nothing less than- you guessed it: backing up a aging jazz icon in an album consisting entirely of that icon's tunes.

How the irony of this could escape even the casual observer is beyond this reviewer. The New Jazz Composers collective, if one has checked out their web site, ...

Freddie Hubbard: Fastball: "Live" At The Left Bank

by AAJ Staff
May 1, 2001

In 1967, after Freddie Hubbard had skyrocketed to the jazz listening public's attention with, it seemed, one legendary recording after another and after developing a high touring profile, he performed in Baltimore. As fate would have it, Vernon Welsh diligently recorded Hubbard's live recording at the Famous Ballroom, as he did for uncounted other thrilling performances. Not knowing the magic that his tapes would capture when he turned on the recorder, Welsh nevertheless persevered, documenting the interactions and improvisations and ...

Freddie Hubbard: New Colors

by C. Andrew Hovan
May 1, 2001

The quintessential hard bop trumpeter, Freddie Hubbard has had his share of ups and downs since he made his precious debut on the ‘60s burgeoning jazz scene so eloquently fostered by Blue Note. The ‘70s were a time for commercial concessions that his critics seemed to condemn with undue fervor, while the ‘80s offered their own share of physical problems. A major statement and his finest work of recent vintage, New Colors is Hubbard at its best and back on ...

Freddie Hubbard: New Colors

by Jim Santella
May 1, 2001

Freddie Hubbard and his New Jazz Composers Octet dig into the mainstream and come up with a winner. It's a team effort. Most of the selections are arranged by trumpeter David Weiss to reflect group interaction and a robust ensemble sound. Anchored by baritone saxophone and bass, the band aims for a dramatic flair as each melody is interpreted with deliberation. Seven of the eight selections are Hubbard's originals. “Red Clay" has mellowed with age, but its new “team" sound ...

Freddie Hubbard: Fastball

by Jim Santella
May 1, 2001

Freddie Hubbard was running at full strength when this was recorded in 1967. Label M's sixth installment of its “Live" At The Left Bank series features the trumpeter's powerful improvisation in a loose setting with complementary artists sharing the stage. Each of the five selections runs over ten minutes, allowing plenty of time for each member of the quintet to “find his muse." Bennie Maupin and Freddie Hubbard exhibit contrasting styles. The saxophonist begins his solos carefully and quietly. He ...

Freddie Hubbard: New Colors

by Jim Santella
May 1, 2001

Freddie Hubbard and his New Jazz Composers Octet dig into the mainstream and come up with a winner. It's a team effort. Most of the selections are arranged by trumpeter David Weiss to reflect group interaction and a robust ensemble sound. Anchored by baritone saxophone and bass, the band aims for a dramatic flair as each melody is interpreted with deliberation. Seven of the eight selections are Hubbard's originals. “Red Clay" has mellowed with age, but its new “team" sound ...