Happy Birthday, Freddie!
April 7th, 2008 | 4:15 pm est |
In honor of legendary jazz trumpeter Freddie Hubbard’s 70th birthday, AMG takes a look back at some of his best work on the CTI label in the ’70s. While Hubbard made his name with his now classic Blue Note albums of the ’60s, his soulful, stylistically varied, and often avant-garde jazz-funk/fusion albums of the ’70s are equally compelling. Produced by CTI label owner Creed Taylor before the industry moved toward the more commercially-minded mathematic equation of smooth jazz, these albums showcased Hubbard in his adventurous, musical prime surrounded by such forward-thinking artists as percussionist Airto Moreira, pianist Keith Jarrett, saxophonist Joe Henderson, and drummer Billy Cobham.
An easy nominee for one of the best — if not the best — ’70s jazz funk cut, the title track off Hubbard’s classic 1970 CTI debut, Red Clay, is simply one of the hippest things you’ll ever hear. 
Similary, the title cut off his second CTI album, Straight Life, is a roil of Afro-Latin influences that make for another standout fusion moment.
Freddie had a knack for great title cuts in the ’70s and the lead-off track on his 1971 CTI album First Light was no exception.
Although the title cut to his 1972 CTI album Sky Dive was also a funky moment to remember, it is his version of cornet legend Bix Beiderbecke’s “In a Mist” that surprises the most as he updates the underplayed standard into a fractured and atmospheric post-bop ballad.
Primarily known for the album cover shot of Hubbard reclining on a larger than life red-lip sofa, 1973’s Keep Your Soul Together is a fiery, adventurous date that features the cut “Destiny’s Children.” While it most likely isn’t a prophetic reference to a future R&B group, it is however a chopped & screwed-esque dreamfunk jam that sounds like “Red Clay” at half speed.
As Hubbard’s final CTI album, 1975’s Polar AC, is a somewhat overlooked gem in his catalog and featured this expansive version of the Stylistics’ “People Make the World Go Round.”
Coincidentally, April 7th is also the birthday of director Francis Ford Coppola, and Sky Dive features Hubbard’s version of Nino Rota’s “The Godfather (Theme).”
Thank you for putting up these jazz blogs on AMG every once in a while. While they may not get as many comments as a posts that lend themselves to a bunch of people writing why their favorite indie album should make some list with righteous indignation, it’s nice to get some variety.
Another part of Freddie’s career that’s overlooked is his recordings with Woody Shaw. The AMG reviewer here doesn’t seem to think very highly of them, but I really like them, especially their version of “The Eternal Triangle.” It’s fascinating for me to hear their approach to rhythm changes.
I too LOVE those Hubbard/Shaw recordings. Looks like some critics wanted more of a competitive headcutting session with more trading between them. Nonetheless, you are totally right that those albums are worth checking out and a great way to compare the two players. I wouldn’t doubt either that both Hubbard and Shaw might have wanted to play down some of the long rumored rivalry between them.
I know there’s a whole host of nay-sayers for anything from the heavier fusion period, but let’s not forget about Freddie’s releases immediately after this era…I think on Columbia…HIGH ENERGY and LIQUID LOVE. I’ve never understood why these albums were such sleepers…they’re easily as good as, if not miles ahead of, any of the musical masturbation being cranked out by McLaughlin or Corea at the time. In fact, they’re much more musical, and retain more of an authentic jazz sensibility than either of those leader’s groups…check out “Lost Dreams” on LIQUID LOVE, or his cover of Stevie’s “Too High” on HIGH ENERGY, for some truly sublime space-jazz-funk. Big ups also to George Cables, the keyboardist on those sessions, who never did anything else in his own career like the synthesizer/electronic madness found here.
LONG LIVE FREDDIE!!! Or like one critic said, imitating Freddie’s famous, high-register, trademark lick, TEE-ooh-WHEE!!