Freddie Hubbard brought a beautiful tone and an instinct for swing to Hub Cap. This record came out in 1961, three years before Eric Dolphy's Out To Lunch and four years before Herbie Hancock's Maiden Voyage : two significant titles in the library of America's improvised music which feature a consequential role by Hubbard.
Freddie Hubbard leads a particularly talented sextet on this reissue. Four of the six compositions are Hubbard originals; two numbers were composed by Cedar Walton, and the marvelous "Cry Me Not" was penned by Randy Weston. The title track opens the disc, showing off Hubbard's flexibility and range in hard bop terrain. The pace shifts when the group leads into the modal ballad "Cry Not For Me," where Freddie Hubbard delivers some beautiful triplet lines in his solos. This number bears repeated listening.
This long-awaited CD from Freddie Hubbard's discography deserves your attention and makes a fine addition to your collection.
Track Listing: I. Hub Cap (5:14)
II. Cry Not For Me (4:45)
III. Luana (10:03)
IV. Osie Mae (6:52)
V. Plexus (9:01)
VI. Plexus [alternate take](9:08)
VII. Earmon Jr. (6:16)
Personnel: Freddie Hubbard, trumpet; Julian Priester, trombone; Jimmy Heath, tenor
Cedar Walton, piano; Larry Ridely, bass; Phillly Joe Jones, drums
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.