Little Sunflower - Freddie Hubbard

Little Sunflower- Freddie Hubbardhttps://t.co/lLzT34XCun#Jazz #Blues #JazzLovers@AdmMaribel @jazzpive @pilarjuan1930 @pilarblesaruiz @VivMilano @nosoloisabel @toiblarlos @IsadoraDuncan3 @FerraTrio @BukiKatalin @TabisaTabisa @HhtVfilm @gaikan @NeilMatheson60 @Tag__Hag @Miyiva

— Madrid Jazz (@JazzMadridClub) March 12, 2019

three videos featuring trumpeter Freddie Hubbard

At JazzWax, three videos featuring trumpeter Freddie Hubbard that recently went up at YouTube... https://t.co/t3MGPlhmAm pic.twitter.com/njxKiexDEh

— Marc Myers (@JazzWax) 7 de abril de 2017

Cedar Walton - "That Old Feeling"

Pianist Cedar Walton performing "That Old Feeling" as a member of drummer Art Blakey's Jazz Messengers with Freddie Hubbard, trumpet, Curtis Fuller, trombone, Wayne Shorter, tenor sax and Jymie Merritt, bass.

Curtis Fuller - Freddie Hubbard - Yusef Lateef : Flutie (1960)

Published on May 14, 2015

Album : Boss of the Soul-Stream Trombone by Cutis Fuller (Warwick), 1961 - Curtis Fuller (trombone);

Freddie Hubbard (trumpet);

Yusef Lateef (flute);

Walter Bishop, Jr. (piano);

Buddy Catlett (bass);

Stu Martin (drums)

I do not own or hold any rights to the music used. The cover art and musical excerpt are reproduced for the purpose of criticism only. See http://www.dragonjazz.com/

Freddie Hubbard Tribute in Indianapolis

A friend remarked before a Freddie Hubbard tribute at the Madame Walker Theatre Friday night that it took four trumpeters to fill in for Hubbard. I think that's probably true. But the trumpeters who stood in for the Indianapolis-born jazz legend played fabulously. Randy Brecker, Nicholas Payton, Pharez Whitted and Derrick Gardner started blowing hard from the start, trading solos on "Byrdlike," Hubbard's homage to fellow trumpeter Donald Byrd. They had a lot of help, particularly from James Spaulding, one of Hubbard's oldest friends and collaborators, who coaxed some magic out of both his saxophone and his flute.

Another of Hubbard's old friends from Hoosierland, Dr. David Baker, served as the emcee and band director, peppering the concert with fond, often amusing, recollections of the great trumpeter. For example, Baker recalled a time in New York when Hubbard emptied his pockets and walked on his hands all the way down the street. Hubbard often employed the same sense of acrobatics when he played. The band captured that well, particularly on "Hub-Tones." Brecker, Payton, Whitted and Gardner engaged in a miniature cutting contest on the song, each playing for 10 to 15 seconds before the next trumpeter in line cut him off. Whitted and Gardner, hitting some of the highest notes I've heard in a long time, were especially impressive.

All 10 members of the ensemble were impressive, though.
• Drummer Donald Edwards kept the band energized. And his solos were a swirling mix of power and nuance.
• Rufus Reid, long one of my favorite bassists, sets a mood about as well as anyone I know. He highlighted the beauty and warmth of Hubbard's compositions with sensuous introductions at the beginning of songs and colorful fills, swathed in a variety of textures, in the middle.
• Pianist Steve Allee, who along with Dr. Baker and Derrick Gardner arranged the tunes for the show, displayed a keen understanding for the many moods of Hubbard's music.
• Vincent Gardner, one of the best young trombonists in jazz, stepped out front more than when I've seen him with the Jazz at Lincoln Center Orchestra. He's a lyrical trombonist who navigates melodies with the ease of a trumpeter.
• Rob Dixon, now based in Indianapolis, helped captured the bluesy side of Hubbard's tunes with an earthy sound that reminds me a bit Gene Ammons, or maybe Arnett Cobb, but with a lot of modern flourishes.
• I've been waiting almost my whole life to hear Randy Brecker in concert. He played with a soulful feel that served as a cue for everyone else in the band.
• I've seen Nicholas Payton many times, but I don't think I've ever heard him play better. I'm sure the spirit of Freddie Hubbard inspired him. If you closed your eyes during a few of his solos, I'll bet you'd swear Hubbard was on the stage, adding a bit of New Orleans to the mix.
• I've seen Pharez Whitted play many times, too, mostly at Fred Anderson's Velvet in Lounge in Chicago. There, Whitted usually explores the outer boundaries of jazz. Friday night he mostly stuck to the melodies, but he did so with an energetic, free-wheeling style.
• Derrick Gardner was the biggest surprise of the evening. He plays his trumpet like he's the Energizer Bunny on fire. I really need to track down one of his albums.
• It must have been an emotional evening for James Spaulding, who formed a band with Hubbard when they were still youngsters. On alto saxophone, he echoed the sweeter side of Hubbard's songs. On flute, he fluttered ethereally.

The band played for more than two hours across two sets, exploring some of Hubbard's lesser-known songs as well as many of his classic tunes. At times, they sounded almost symphonic, but they always seemed to drift, make that bound, back to the fire. Hubbard was both an innovator and a master technician and his recordings were always white hot. At one point, Dr. Baker illustrated that point by humming a few riffs Hubbard invented. Just about every trumpeter in the world now plays those riffs, Dr. Baker said, even if they don't know where they came from.

I've been to a number of tribute shows over the years, but I don't think I've ever attended a better one. Then again, considering the artist who was being honored, that's not really surprising.
http://cahlsjukejoint.blogspot.com/2009/09/freddie-hubbard-tribute-in-indianapolis.html

Freddie Hubbard....

by Dave Douglas
January 01, 2009, 01:21 PM

Even with centuries of innovation in brass instrument making, the trumpet is still basically a metal tube through which one is expected to blow, vibrating the lips against the opening at one end. It doesn't matter who's making the horn. That's basically all it is.

The notes come out following the harmonic series: beginning with a low fundamental tone and ascending, according to the laws of physics, by ever smaller intervals until the top of the range, where the series ends in pure, densely packed chromatics. Add three valves and you've got seven harmonic series available: 0, 1, 2, 12, 23, 13, and 123.* In the low range all the fundamental notes have their own fingering. In the high range, where the seven series converge, almost any note can be played with any fingering.

In addition, there is the quality of the attack, the flow of air, and the flexibility in moving from one note to another. All musical expressiveness on the trumpet stems from control of these few variables.

Freddie Hubbard was one of the most skilled practitioners of this art. The joy and freedom in his playing came in part from this complete mastery of the instrument. It always sounded effortless. In the high range his control of air was so sublime that his lines sometimes defied the laws of physics and harmony, resolving in odd ways just by dint of his total domination of the instrument. Freddie grabbed the opportunity of those alternate fingerings to pop in and out of chromatic chord and scale ideas. His attack was always precise and his dodging and darting lines flowed like water through a sluiceway.

A lot of people can play the trumpet well. Technical mastery is far from the reason Freddie Hubbard is the most imitated player of the last half-century. It was what he did with that mastery -- the inventiveness of his harmonies and the ingenuity of his rhythmic propulsion. Freddie's impact is so profound that you often don't have to mention him when noting a young player's influences. Freddie is always there. He had a lot to say, and we all soaked it up.

As a young player Freddie listened to Clifford Brown for sure. He also drank deeply at the well of Clifford's inspirations: Fats Navarro, Dizzy Gillespie, Roy Eldridge, and Louis Armstrong, among many others. But trumpeters aren't the only influence for trumpeters. In the same way that Clifford Brown talked about putting Charlie Parker's language on the trumpet, Freddie Hubbard brought the practices of John Coltrane, his occasional practice-mate, directly into the brass world.

Freddie's lines drove the harmony. Freddie toyed with the music, anticipating and delaying resolutions in unexpected ways. But at the end of the day it was the maturity of his improvisations that were the most powerful aspect of his musical expression. Freddie at his best could go nuts with the lines and the harmony, but he would also ease off and play with bluesy simplicity when it more effectively served the moment.

The VSOP records of the mid-seventies show Freddie in an unusual and revealing light. This had been Miles Davis' band in the mid-sixties: Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. With Miles this music was spare and enigmatic -- no extra notes and no bravura energy added to the brilliance of the tunes. Freddie brings something quite different. He is generous with notes and all flowing grace. A different kind of grace, like a gregarious toastmaster. Freddie is so on top of the music and the horn that he is unable to restrain the joyful exuberance of his ideas and his ability to pull them off.

That explains a lot about why he is more imitated than Miles Davis -- his style gave so much more material to hold onto. Miles Davis and Freddie Hubbard were two very different visions of the modern esthetic. Echoes of Miles are heard a lot, but you hear the sound of Freddie everywhere.

Trumpeters have often been tragic figures in American life. Freddie Hubbard was no different. The last fifteen years of his life saw him battling a disastrous lip injury that limited his ability to execute his ideas. Freddie also battled the forces of fashion - by his own admission (though not necessarily that of his fans) he spent some years making music that did not live up to his high standards. By the early seventies he had done pretty much everything that could be done: documented many masterpiece solos, participated in dozens of seminal recordings, elaborated a personal vision for the instrument and the music that still stands up today. Where was he to go? That kind of legacy and pressure at such a young age is hard to imagine.

We can be thankful for the joy Freddie Hubbard brought to us in his seventy years on the planet. He will be missed.

* For those curious why 3 is not included among the seven basic fingerings -- 3 creates a length of tubing almost exactly identical to 12, with 12 being slightly more in tune. 3 is a widely used alternate fingering, but is not considered among the basic positions.

Darcy at Secret Society has a great collection of links to other thoughts about Freddie Hubbard, as well as some perceptive thoughts of his own.
http://www.greenleafmusic.com/

Jazz great Freddie Hubbard dead at 70....

Freddie Hubbard, the Grammy-winning jazz musician whose style influenced a generation of trumpet players and who collaborated with such greats as Ornette Coleman, John Coltrane and Sonny Rollins, died Monday, a month after suffering a heart attack. He was 70.

Hubbard died at Sherman Oaks Hospital, said his manager, fellow trumpeter David Weiss of the New Jazz Composers Octet. He had been hospitalized since suffering the heart attack a day before Thanksgiving.

A towering figure in jazz circles, Hubbard played on hundreds of recordings in a career dating to 1958, the year he arrived in New York from his hometown Indianapolis, where he had studied at the Arthur Jordan Conservatory of Music and with the Indianapolis Symphony.

Soon he had hooked up with such jazz legends as Thelonious Monk, Miles Davis, Cannonball Adderley and Coltrane.

"I met Trane at a jam session at Count Basie's in Harlem in 1958," he told the jazz magazine Down Beat in 1995. "He said, `Why don't you come over and let's try and practice a little bit together.' I almost went crazy. I mean, here is a 20-year-old kid practicing with John Coltrane. He helped me out a lot, and we worked several jobs together."

In his earliest recordings, which included "Open Sesame" and "Goin' Up" for Blue Note in 1960, the influence of Davis and others on Hubbard is obvious, Weiss said. But within a couple years he would develop a style all his own, one that would influence generations of musicians, including Wynton Marsalis.

"He influenced all the trumpet players that came after him," Marsalis told The Associated Press earlier this year. "Certainly I listened to him a lot. ... We all listened to him. He has a big sound and a great sense of rhythm and time and really the hallmark of his playing is an exuberance. His playing is exuberant."

Hubbard played on more than 300 recordings, including his own albums and those of scores of other artists. He won his Grammy in 1972 for best jazz performance by a group for the album "First Light."

As a young musician, Hubbard became revered among his peers for a fiery, blazing style that allowed him to hit notes higher and faster than just about anyone else with a horn. As age and infirmity began to slow that style, he switched to a softer, melodic style and played a flugelhorn. His fellow musicians were still impressed.

"The sound he gets on just one note. I know he does all the flashy stuff and the high stuff and it's all great but ... he'd play `Body and Soul' on the flugelhorn and it was just that much better again than everyone around him," trumpeter Chris Botti said in an interview earlier this year.

Associated Press Writer Charles J. Gans in New York contributed to this story
http://news.yahoo.com/s/ap/20081229/ap_en_mu/obit_hubbard