Category Archives: Freddie Hubbard

True Blue: Tina Brooks

Tina Brooks True Blue

I’m surprised that I have not written about True Blue before now. My recent acquisition of an excellent Music Matters copy on vinyl presents me with an opportunity to put that right though.

In 2001 in Blue Note Records: The Biography, Richard Cook wrote: ‘This is one of the forgotten masterpieces of the Blue Note catalogue.’ Thankfully, diligent work from Michael Cuscuna and a series of reissues has made this gem readily available.

Tina Brooks was one of a select group of female artists who played on the New York scene and were recorded by Blue Note.

No he wasn’t! His actual name was Harold and Tina was a childhood nickname, deriving from ‘tiny’ or ‘teeny’. Although he recorded four self-led sessions with Blue Note between 1958 and 1961, True Blue was the only recording issued with him as leader in his lifetime. He played on notable sessions with Jimmy Smith and Kenny Burrell but it has been suggested that, with a reserved and shy demeanour, he didn’t push his own case sufficiently well with Blue Note for the label to issue strong sets including Minor Move and Back to The Tracks (which are both in my collection). He never recorded again after 1961 and played local gigs in The Bronx. TB died in obscurity in 1974 after a life marred by drug-related illness. He was a contender who, perhaps, could have been a king. There’s a piece entitled ‘Who killed Tina Brooks’ which you can find if you want to know more- but I’ve not linked to it here as those in the know have suggested that it is unjust in its criticism of TB’s treatment by Blue Note.

Good Old Soul is the first of five Tina Brooks compositions here. It has a slinky feel about it and an extended solo from TB which shows his command of his tenor. A 22 year old Freddie Hubbard is also on fine form here too, as is Duke Jordan on piano.

Up Tight’s Creek bops and bustles along and after a bright trumpet solo from Hubbard, features a fluent tenor contribution. Duke Jordan’s piano is also worth pausing to listen to.

Theme for Doris is a mid-paced piece that is pleasing and again showcases TB’s inventiveness as a soloist.

True Blue opens the second side of the set. To these ears there’s something that conjures images of Sixties city architecture, all concrete, glass and straight lines- in the most unlikely event that I produce a TV documentary about The Barbican, you now know part of the soundtrack. What do you think (courtesy of YouTube)?

To play touch or click on the arrow

Miss Hazel is a conventional hard bop piece with another flowing tenor solo followed by Hubbard and Jordan.

Nothing Ever Changes My Love for You is the only standard tune here. Written by Jack Segal and Marvin Fisher, it had been a hit for Nat King Cole in 1956.

There is a collection of Tina Brooks complete works available on Mosaic. When compiling this Michael Cuscuna went to Freddie Hubbard, whose career had flourished. His memories of Tina Brooks were warm ones and he recalled TB’s talent and strengths as a musician.

The sound quality of the Music Matters pressing of True Blue is excellent on my Rega RP6/Naim/Spendor system. If you don’t have any of his recordings you should consider seeking some out. True Blue particularly benefits from working as a showcase for TB’s musicianship and compositional skills. It is an album where the tunes fit well together and has a greater sense of unity than some Blue Note sessions where the artist seems to want to cover too much ground by including a distracting variety of styles. Often a straight ahead tune will be followed by a snippet of Bossa, a sprinkle of standard and a slice of ballad with the sum total lacking a true centre. That’s not the case here though.

The RVG series CD has alternate takes of True Blue and Good Old Soul from the same session. The version of True Blue which omits the piano for the first eight bars of the intro is of particular interest.

The band etc: Tina Brooks (tenor saxophone); Freddie Hubbard (trumpet); Duke Jordan (piano); Sam Jones (bass); Art Taylor (drums). Recorded: 25 June 1960. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Produced: Alfred Lion. Recorded: Rudy Van Gelder. Sleeve Notes: Ira Gitler. Cover design: Reid Miles. Cover photos: Francis Wolff. Issued as Blue Note 84041.

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Blue Spirits: Freddie Hubbard

Blue Spirits Freddie Hubbard

Recorded over two sessions in early 1965 and on CD supplemented by a further two tracks from early 1966, Blue Spirits was Freddie Hubbard’s last studio release on Blue Note and it wasn’t an album that I had come across very often in the shops. However, some good came out of a trip to a football match in Manchester, when I picked this up at Vinyl Exchange.

It then languished unplayed and neglected in my workbag until Christmas. This was a mistake as it is a very fine album. Without further ado, take a listen to the opening track, Soul Surge from YouTube, courtesy of Rogerjazzfan.

To play touch or click on the arrow

There’s a division in fans of Blue Note between those who enjoy Lee Morgan’s Sidewinder and those who speak dismissively of the number of similar tracks that opened subsequent albums by a host of other artists in the hope that they could replicate its success. Soul Surge is one of those tracks, but it is a wonderful piece of music in its own right. Indeed it is one of those pieces that should probably have gained standard’ status but never quite made it. Harold Mabern on piano and Joe Henderson make their mark and conga drummer, Big Black combines delightfully with bassist Larry Ridley.

The same lineup play on the fourth track, Cunga Black. This has a Latin feel and Hubbard stated that he was looking for a dark sound, although I wouldn’t characterise it with that quality.

The second session from late February 1965 yielded the title track, Blue Spirits, which seems to open like a subdued version of Silent Night, before lightening up with the introduction of James Spaulding on flute.

Outer Forces strikes on with a lively feel and pace, while Jodo (‘pure land’ in Japanese) also swings along in a funky way. All fit well with the two tracks from earlier in the month, despite a change of rhythm section and tenor saxophonist with Hank Mobley sitting in here.

The original vinyl release was made up of the five tracks above. However the CD offers a further two tracks from a session in early March 1966, where Joe Henderson returns on tenor, with pianist, Herbie Hancock and Elvin Jones, joined by Reggie Workman on bass and the lesser known Hosea Taylor (alto sax and bassoon). The Melting Pot is more of a modal piece than its predecessors from the previous year. True Colors has a freer, more experimental feel, especially in the solos, and interesting use is made of Hancock’s celeste and it is very different from the rest of the CD. However, both tracks retain a strong sense of cohesion and, in the playing is restrained and confined to the normal range of each instrument.

Bob Blumenthal’s notes accompanying the RVG CD release state: ‘While often overlooked, Blue Spirits is one of the greatest albums in Freddie Hubbard’s voluminous discography.’
It is an album that I’m enjoying very much and one on which the talents of an array of great Blue Note artists are deployed in a wondrous way. All in all, yet another fantastic Blue Note set that is well worth tracking down.

The band etc:-
19 February 1965: Freddie Hubbard (trumpet); James Spaulding (alto sax & flute); Joe Henderson (tenor sax); Kiane Zawadi (euphonium); Harold Mabern (piano); Larry Ridley (bass); Clifford Jarvis (drums); Big Black (congas). On: Soul Surge & Cunga Black (tracks 1 & 4)
26 February 1965: Freddie Hubbard (trumpet); James Spaulding (alto sax & flute); Hank Mobley (tenor sax); Kiane Zawadi (euphonium); McCoy Tyner (piano); Bob Cranshaw (bass); Pete La Roca (drums). On: Blue Spirits, Outer Forces, Jodo (tracks 2-5)
5 March 1966: Freddie Hubbard (trumpet); Joe Henderson (tenor sax); Hosea Taylor (alto sax & bassoon); Herbie Hancock (piano, celeste); Reggie Workman (bass); Elvin Jones (drums). On: The Melting Pot, True Colors (tracks 6-7)
Produced: Alfred Lion. Recorded 19, 26 February and 5 March 1966. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Sleeve Notes: Nat Hentoff. Cover photos: Francis Wolff. Design Reid Miles. Tracks 1-5 Originally issued as Blue Note BST 84196

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Classic Albums on downwithit.info in 2014

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Happy New Year to all visitors, new and old. Here’s my 100th post on downwithit.

I still have an unfinished task from 2014 which is to look back at all the classic sets that I reviewed here in 2014. By classic I mean anything other than a new release so there are one or two sets from the present millennium included here. A quick count indicates that I wrote about 26 of these albums in 2014, so I think I can conclude that I wasn’t idle, especially given that I also wrote about a number of contemporary sets and offered up some live reviews.

What follows may be a bit of a trudge through a list, but I have linked to all the reviews and if any catch your interest, please click and take a look.

On NYD 2014 I started with a bang by taking a look at John Coltrane’s Blue Train, one of my all-time favorites that I urged everyone to obtain and listen to if they hadn’t done so already.

This was followed up by Lee Morgan’s The Sidewinder and a track that inspired numerous imitations.

My January postings dipped into dinner jazz in the form of Grover Washington Jr’s All The King’s Horses and British hard bop from the 1980’s UK jazz revival via Tommy Chase and Groove Merchant.

Thoughts of Tommy Chase led downwithit.info into fresh territory and I decided to devote some time to exploring the current scene, which was something that I really enjoyed during the course of 2014. If you want a recap of the newly released albums that I reviewed last year, they can be found here and my trawl of live performances is referred to here. I’m not sure if my ramblings have encouraged the purchase of a single album or attendance at any gigs but if they have, please leave a comment and let me know.

I wrote five reviews in February 2014 opening with Horace Parlan’s piano trio set Movin’ And Groovin’. I followed this up with Johnny Griffin’s Big Soul Band. I wavered about posting on that one because I thought that it was something of a departure from the classic small band context and that it would not fit- but it seemed to be OK and remains a popular review according to my stats.

Fred Jackson’s great Hootin”N Tootin’ was next up. At the time, I checked Wikipedia which did not give a date of death. Hopefully Fred still is with us and is enjoying a peaceful retirement at the grand age of 85 years old. If anybody knows more, please tell us.

A further less well-known Blue Note set, John Jenkins With Kenny Burrell was placed in the spotlight, before I took a look at Thembi by my favourite living saxophonist, Pharoah Sanders.

March 2014 saw me take an overdue look at Yusef Lateef (more to come in 2015) and Jazz Mood, his first set as a leader from 1957. The Cats, a fine session featuring John Coltrane followed and I made my first visit to a Grant Green recording on these pages with Grant’s First Stand.

In April, I brought news a a real gem: Heavy Sounds by Elvin Jones and Richard Davis, another set to listen to even if you have to beg steal or borrow. A slow journey north up the motorway system led me to grapple with Bobby Hutcherson’s Happenings. The same trip north gave me time to take a look at The Hot Club Of San Francisco’s Veronica and I got hold of a copy of Jimmy Smith’s lacklustre a less then incredible Softly As A Summer Breeze.

In May Sonny Clark’s Sonny Clark Trio was followed by another Sonny in the form of Sonny Rollins On Impulse, which sounds like a compilation album but isn’t. Later in the month, my local second-hand record store yielded up a copy of John Coltrane’s Ole.

I took another look at Grant Green with his lesser known Iron City, featuring a strong version of Hi-Heeled Sneakers, before returning to Blue Note and Harold Vick’s Steppin’ Out and later in September with Joe Henderson and Inner Urge.

I took the view that Archie Shepp and Dollar Brand’s Duet was slightly spoiled by Shepp’s poor sax technique on a couple of tracks, but I enjoyed Hank Mobley’s great Roll Call, Grant Green’s Green Street and Freddie Hubbard’s Ready For Freddie.

2014 was the year in which a bit of research yielded some more answers about Freddie Roach’s later years and I shelled out for a first pressing of All That’s Good which turned out to be much better than a shocking review suggested it would be.

I’ve already got a the first few reviews for 2015 in mind, so please come back soon and see what I’ve been listening to and remember that comments are most welcome.

One New Year’s Resolution– the quality of the photography at downwithit must improve. No excuses!

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Ready For Freddie: Freddie Hubbard

Freddie Hubbard Ready For Freddie cover

I haven’t yet taken a look at a Freddie Hubbard recording here, so its time to put that right, as I’m the proud owner of a number of his sets. Although Miles Davis casts a massive shadow over modern jazz trumpet, it is really refreshing to hear others who have also made the instrument their own. By the time he recorded his fourth Blue Note set as leader, dues had been paid and Freddie Hubbard had the freedom to be creative. That certainly shows on this set. There’s a definite sound of excitement and a willingness to strive for something new. Even over 50 years since Ready For Freddie was recorded, Hubbard’s quest to deliver something that excites rings through.

At the time of recording Ready For Freddie, Hubbard had just been in the studio with John Coltrane, playing on Ole which I wrote about here. He cites his aspiration to follow in the exemplary saxophonist’s footsteps and Elvin Jones, and McCoy Tyner at the heart of the rhythm section, joined by Art Davis, who had also played a second double bass on the Ole session.

Arietis is a lively uptempo number, still hard bop but a tune that’s striving towards something else. The euphonium adds a bit of variety with an unexpected quality to its voicing. The YouTube clip is courtesy of Roger rogerjazzfan:-

To play click on or touch the arrow.

Victor Young and Jack Elliot’s Weaver Of Dreams is a sensitive ballad. Surprisingly, Young the composer was on a Bolshevik death list in revolutionary Russia but escaped (see bottom of this piece) to write ‘When I Fall In Love’, work as Bing Crosby’s musical director, win 22 Academy Awards and an Oscar for his work on movie scores (sounds like a story I should be writing a screenplay of- but, sadly, I don’t suppose I will).

Marie Antoinette is a Wayne Shorter composition, apparently so titled because the tune made him think of the carefree life of the Queen before the revolution, when the axe fell. Let ’em eat cake! Its a mid-tempo piece and a pleasant listen.

Birdlike opens the second side of the original LP version of this recording and it is a tribute to Charlie Parker. Crisis is informed by the global Cold War tensions that were current, coming, in the words of sleeve note writer Hentoff: “…from Freddie’s desire to express in music some of the spiralling tension of all our lives under the growing shadow of the bomb.” This is accomplished through the contrast between the first 12 bars of each 16 bar section with the music ‘exploding’ in the last four bars- or that’s the theory as the explosions are still relatively polite.

The CD version contains the bonus of alternative takes on Arietis and Marie Antoinette.

The band etc:- Freddie Hubbard (trumpet); Bernard McKinney (euphonium); Wayne Shorter (tenor sax); McCoy Tyner (piano); Art Davis (bass); Elvin Jones (drums).  Produced: Alfred Lion. Recorded 21 August 1961. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey.  Sleeve Notes: Nat Hentoff. Cover photos: Francis Wolff.  Originally issued as Blue Note BLP 4085 & BST 84085

Although born in the United States in 1900, Victor Young was a musical prodigy and went to stay in Warsaw with his grandfather when aged 10. His wikipedia entry takes things up:- Playing before Russian generals and nobles, while in Warsaw, he was later introduced to Czar Nicholas in St. Petersburg, and his playing so impressed the Czar that he presented him with many gifts but the revolution cut short his success in Russia. Having been connected with the court of the Czar, the Bolsheviks deemed it advisable to get rid of him, and it is only by a miracle that he escaped death, for he was already sentenced to die. After a long and tiresome escapade, he succeeded in reaching Warsaw, then Paris, and from there to the United States.

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