Review by Michael G. Nastos
At age 25, Freddie Hubbard made inroads into modern jazz most trumpeters could not imagine, much less come through with. As a soloist, one of Hubbard's crowning achievements in his early period was this recording on which he teamed with Wayne Shorter, marginally as a performer but prominent in the role of arranger/conductor for his first time ever. Utilizing a septet, 16-piece big band, and orchestra plus stings to play concise, tight tunes, Shorter provides the backdrop to employ Hubbard's bold toned trumpet and all of its devices in a full display of his powerful melodic talents. Yeoman Reggie Workman plays bass on all selections, with drummer Louis Hayes in the seven-piece combo, and great work from Philly Joe Jones in the larger bands. Interestingly enough, the three tracks with the smaller ensemble are the most interesting, due to the presence of Eric Dolphy, Curtis Fuller, Cedar Walton, and Shorter on the front line. "Clarence's Place" is a post-bop jewel with spiky brass accents and Dolphy's ribald and outre alto sax solo contrasting Shorter's relatively reserved tenor, "Dedicated to You" is a wisp of a tune, while "Body & Soul," an atypical choice for the opening selection, is a straight read of the classic ballad with a chart that sounds larger than the small horn section, and a wavering flute via Dolphy. The big band does an unusual soul-jazz treatment of the Brazilian number "Manha de Carnaval" flavored by Robert Northern's French horn, while "Aries" is a hard bop show stopper with two-note accents buoying Hubbard's great lyrical lines, and goes further into hard bop with "Thermo" as the horns demand attention with the trumpeter as an afterthought. The string section, ten pieces strong, joins the big band on the film noir type Duke Ellington piece "Chocolate Shake," the stock "I Got It Bad," and "Skylark," with its soft clarion intro bubbling underneath with the violins, violas, and cellos. The manner in which this recording is programmed is thoughtful in that it lends to the diversity of the project, but is seamless from track to track. Dan Morgenstern's hefty liner notes also explain the concept behind this ambitious project, one which did not compare to any of Hubbard's other recordings in his career. Therefore it stands alone as one of the most unique productions in his substantive discography, and a quite credible initial go-round for Shorter as an orchestrator.
https://www.allmusic.com/album/the-body-the-soul-mw0000612194
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Reseña de Michael G. Nastos
A la edad de 25 años, Freddie Hubbard hizo incursiones en el jazz moderno que la mayoría de los trompetistas no podían imaginar, y mucho menos llegar. Como solista, uno de los logros más importantes de Hubbard en su primera etapa fue esta grabación en la que se asoció con Wayne Shorter, marginalmente como intérprete pero prominente en el papel de arreglista/director de orquesta por primera vez. Utilizando un septeto, una big band de 16 piezas y una orquesta más stings para tocar melodías concisas y ajustadas, Shorter proporciona el telón de fondo para emplear la audaz trompeta de Hubbard y todos sus dispositivos en un despliegue completo de sus poderosos talentos melódicos. El músico Reggie Workman toca el bajo en todas las selecciones, con el baterista Louis Hayes en el combo de siete piezas, y un gran trabajo de Philly Joe Jones en las bandas más grandes. Curiosamente, los tres temas con el conjunto más pequeño son los más interesantes, debido a la presencia de Eric Dolphy, Curtis Fuller, Cedar Walton y Shorter en primera línea. "Clarence's Place" es una joya post-bop con acentos de metal puntiagudos y el solo de saxo alto de Dolphy, mordaz y extravagante, que contrasta con el tenor relativamente reservado de Shorter, "Dedicated to You" es una melodía muy ligera, mientras que "Body & Soul", una elección atípica para la selección de apertura, es una lectura directa de la balada clásica con un gráfico que suena más grande que la pequeña sección de vientos, y una flauta vacilante a través de Dolphy. La big band hace un tratamiento inusual de soul-jazz del número brasileño "Manha de Carnaval" con el sabor de la trompa de Robert Northern, mientras que "Aries" es un espectáculo de hard bop con acentos de dos notas que animan las grandes líneas líricas de Hubbard, y va más allá en el hard bop con "Thermo", ya que las trompas exigen atención con el trompetista como una idea de último momento. La sección de cuerdas, compuesta por diez piezas, se une a la big band en la pieza de Duke Ellington de tipo cine negro "Chocolate Shake", en la clásica "I Got It Bad" y en "Skylark", con su suave introducción de clarín burbujeando por debajo con los violines, las violas y los chelos. La forma en que se ha programado esta grabación está bien pensada, ya que contribuye a la diversidad del proyecto, pero es perfecta de una pista a otra. Las abundantes notas de Dan Morgenstern también explican el concepto que hay detrás de este ambicioso proyecto, que no se compara con ninguna de las otras grabaciones de Hubbard en su carrera. Por lo tanto, se trata de una de las producciones más singulares de su extensa discografía, y de una primera vuelta de tuerca bastante creíble para Shorter como orquestador.
https://www.allmusic.com/album/the-body-the-soul-mw0000612194
1 - Body And Soul - 4:36
2 - Carnival (Manha De Carnival) - 5:19
3 - Chocolate Shake - 3:56
4 - Dedicated To You - 3:22
5 - Clarence's Place - 3:29
6 - Aries - 3:04
7 - Skylark - 4:32
8 - I Got It Bad And That Ain't Good - 3:41
9 - Thermo - 4:15
Credits:
Art Direction – Hollis King
Baritone Saxophone – Charles Davis (2) (tracks: 2, 6, 9), Jerome Richardson (tracks: 3, 7 to 8)
Bass – Reggie Workman
Conductor, Arranged By [Big Band And String Orchestra] – Wayne Shorter (tracks: 2 to 3, 6 to 9)
Design [Graphic Design] – Jason Claiborne
Drums – Philly Joe Jones* (tracks: 2 to 3, 6 to 9), Louis Hayes (tracks: 1, 4 to 5)
Flute, Alto Saxophone – Eric Dolphy
French Horn – Julius Watkins (tracks: 3, 7 to 8), Bob Northern* (tracks: 2 to 3, 6 to 9)
Photography By – Lee Tanner, Ted Russell (2)
Piano – Cedar Walton
Producer – Bob Thiele
Recorded By – Frank Abbey (tracks: 3, 7 to 8), Rudy Van Gelder (tracks: 1 to 2, 4 to 6, 9)
Reissue Producer – Michael Cuscuna
Remastered By [Digitally] – Erick Labson
Tenor Saxophone – Jerome Richardson (tracks: 2, 6, 9), Seldon Powell (tracks: 2, 6, 9), Wayne Shorter (tracks: 1, 4 to 5)
Trombone – Curtis Fuller, Melba Liston (tracks: 2 to 3, 6 to 9)
Trumpet – Al DeRisi* (tracks: 2, 6, 9), Clark Terry (tracks: 2, 6, 9), Ed Armour (tracks: 3, 7 to 8), Ernie Royal (tracks: 2, 6, 9), Freddie Hubbard, Richard Williams (tracks: 3, 7 to 8)
Notes:
1, 4 to 5 : Recorded at the Van Gelder Studio, Englewood Cliffs, NJ on May 2, 1963
2, 6, 9 : Recorded at the Van Gelder Studio, Englewood Cliffs, NJ on March 11, 1963
3, 7 to 8 : Recorded at Capitol Studios, New York City on March 8, 1963
Label: Impulse! – 051 183-2, Impulse! – IMP 11832
Series: Impulse! Master Sessions –
Released: 1996
Genre: Jazz
Style: Post Bop, Contemporary Jazz
https://www.discogs.com/Freddie-Hubbard-The-Body-The-Soul/release/2389256
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