Time: 78:18
Size: 179.3 MB
Styles: Trumpet jazz, Hard bop
Year: 2015
Art: Front
[ 4:26] 1. Happy Times
[ 9:20] 2. Mohawk
[ 6:25] 3. Alone And I
[ 3:35] 4. Little Karin
[ 6:32] 5. Watermelon Man
[ 7:24] 6. Shutterbug
[ 5:30] 7. Three Bags Full
[10:02] 8. Summertime
[ 6:07] 9. I Want More
[ 5:10] 10. In Walked Horace
[ 9:17] 11. Dolphin Dance
[ 4:25] 12. Swing It
n the pantheon of jazz trumpeters, Freddie Hubbard stands as one of the boldest and most inventive artists of the bop, hard-bop and post-bop eras. Although influenced by titans like Miles Davis and Clifford Brown, Hubbard ultimately forged his own unique sound – a careful balance of bravado and subtlety that fueled more than fifty solo recordings and countless collaborations with some of the most prominent jazz artists of his era. Shortly after his death at the end of 2008, Down Beat called him “the most powerful and prolific trumpeter in jazz.” Embedded in his massive body of recorded work is a legacy that will continue to influence trumpeters and other jazz artists for generations to come.
He achieved his greatest popular success in the 1970s with a series of crossover albums on Atlantic and CTI Records. His early ‘70s jazz albums for CTI – Red Clay (1970), Straight Life (1970) and First Light (1971) – were particularly well received (First Light won a Grammy for Best Instrumental Jazz Performance). Later in the decade, he returned to the acoustic, hard-bop idiom with the V.S.O.P. quintet, which teamed him with members of the 1960s Miles Davis Quintet: Herbie Hancock, Wayne Shorter, Tony Williams and Ron Carter. Hubbard also stepped briefly into the pop arena when he played a solo on “Zanzibar,” a track from Billy Joel’s Grammy-winning 1978 album, 52nd Street.
As the ‘80s got under way, Hubbard was once again leading his own group, playing at concerts and festivals in the U.S. and Europe. He frequently collaborated with Joe Henderson, playing a repertory of hard-bop and modal-jazz pieces. Other associations throughout the decade included Monterey Jazz Festival dates with Bobby Hutcherson; studio projects with Woody Shaw and Benny Golson; and a live recording in Holland (Feel the Wind) with Blakey in 1988.
He achieved his greatest popular success in the 1970s with a series of crossover albums on Atlantic and CTI Records. His early ‘70s jazz albums for CTI – Red Clay (1970), Straight Life (1970) and First Light (1971) – were particularly well received (First Light won a Grammy for Best Instrumental Jazz Performance). Later in the decade, he returned to the acoustic, hard-bop idiom with the V.S.O.P. quintet, which teamed him with members of the 1960s Miles Davis Quintet: Herbie Hancock, Wayne Shorter, Tony Williams and Ron Carter. Hubbard also stepped briefly into the pop arena when he played a solo on “Zanzibar,” a track from Billy Joel’s Grammy-winning 1978 album, 52nd Street.
As the ‘80s got under way, Hubbard was once again leading his own group, playing at concerts and festivals in the U.S. and Europe. He frequently collaborated with Joe Henderson, playing a repertory of hard-bop and modal-jazz pieces. Other associations throughout the decade included Monterey Jazz Festival dates with Bobby Hutcherson; studio projects with Woody Shaw and Benny Golson; and a live recording in Holland (Feel the Wind) with Blakey in 1988.
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