Freddie Hubbard • Super Blue

 

Biography by Scott Yanow
One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz. However, a string of blatantly commercial albums later in the decade damaged his reputation and, just when Hubbard, in the early '90s (with the deaths of Dizzy Gillespie and Miles Davis), seemed perfectly suited for the role of veteran master, his chops started causing him serious troubles.

Born and raised in Indianapolis, Hubbard played early on with Wes and Monk Montgomery. He moved to New York in 1958, roomed with Eric Dolphy (with whom he recorded in 1960), and was in the groups of Philly Joe Jones (1958-1959), Sonny Rollins, Slide Hampton, and J.J. Johnson, before touring Europe with Quincy Jones (1960-1961). He recorded with John Coltrane, participated in Ornette Coleman's Free Jazz (1960), was on Oliver Nelson's classic Blues and the Abstract Truth album (highlighted by "Stolen Moments"), and started recording as a leader for Blue Note that same year. Hubbard gained fame playing with Art Blakey's Jazz Messengers (1961-1964) next to Wayne Shorter and Curtis Fuller. He recorded Ascension with Coltrane (1965), Out to Lunch (1964) with Eric Dolphy, and Maiden Voyage with Herbie Hancock, and, after a period with Max Roach (1965-1966), he led his own quintet, which at the time usually featured altoist James Spaulding. A blazing trumpeter with a beautiful tone on flügelhorn, Hubbard fared well in freer settings but was always essentially a hard bop stylist.

In 1970, Freddie Hubbard recorded two of his finest albums (Red Clay and Straight Life) for CTI. The follow-up, First Light (1971), was actually his most popular date, featuring Don Sebesky arrangements. But after the glory of the CTI years (during which producer Creed Taylor did an expert job of balancing the artistic with the accessible), Hubbard made the mistake of signing with Columbia and recording one dud after another; Windjammer (1976) and Splash (a slightly later effort for Fantasy) are low points. However, in 1977, he toured with Herbie Hancock's acoustic V.S.O.P. Quintet and, in the 1980s, on recordings for Pablo, Blue Note, and Atlantic, he showed that he could reach his former heights (even if much of the jazz world had given up on him). But by the late '80s, Hubbard's "personal problems" and increasing unreliability (not showing up for gigs) started to really hurt him, and a few years later his once mighty technique started to seriously falter. In late 2008, Hubbard suffered a heart attack that left him hospitalized until his death at age 70 on December 29 of that year.Freddie Hubbard's fans can still certainly enjoy his many recordings for Blue Note, Impulse, Atlantic, CTI, Pablo, and his first Music Masters sets.
https://www.allmusic.com/artist/freddie-hubbard-mn0000798326#biography

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Biografía de Scott Yanow
Freddie Hubbard, uno de los grandes trompetistas de jazz de todos los tiempos, formó su sonido a partir de la tradición de Clifford Brown/Lee Morgan, y a principios de los 70 se distinguió de inmediato y marcó el ritmo del jazz. Sin embargo, una serie de álbumes descaradamente comerciales a finales de la década dañaron su reputación y, justo cuando Hubbard, a principios de los 90 (con la muerte de Dizzy Gillespie y Miles Davis), parecía perfectamente adecuado para el papel de maestro veterano, sus habilidades comenzaron a causarle serios problemas.

Nacido y criado en Indianápolis, Hubbard tocó temprano con Wes y Monk Montgomery. Se mudó a Nueva York en 1958, compartió habitación con Eric Dolphy (con quien grabó en 1960) y formó parte de los grupos de Philly Joe Jones (1958-1959), Sonny Rollins, Slide Hampton y J. J. Johnson, antes de realizar una gira por Europa con Quincy Jones (1960-1961). Grabó con John Coltrane, participó en Free Jazz de Ornette Coleman (1960) , estuvo en el álbum Classic Blues and the Abstract Truth de Oliver Nelson (destacado por "Stolen Moments") y comenzó a grabar como líder de Blue Note ese mismo año. Hubbard ganó fama tocando con los Jazz Messengers de Art Blakey (1961-1964) junto a Wayne Shorter y Curtis Fuller. Grabó Ascension con Coltrane (1965), Out to Lunch (1964) con Eric Dolphy y Maiden Voyage con Herbie Hancock, y, después de un período con Max Roach (1965-1966), dirigió su propio quinteto, que en ese momento generalmente presentaba al altoista James Spaulding. Un trompetista ardiente con un hermoso tono en flügelhorn, a Hubbard le fue bien en entornos más libres, pero siempre fue esencialmente un estilista de hard bop.

En 1970, Freddie Hubbard grabó dos de sus mejores álbumes (Red Clay y Straight Life) para CTI. El seguimiento, First Light (1971), fue en realidad su cita más popular, con arreglos de Don Sebesky. Pero después de la gloria de los años de CTI (durante los cuales el productor Creed Taylor hizo un trabajo experto en equilibrar lo artístico con lo accesible), Hubbard cometió el error de firmar con Columbia y grabar un fracaso tras otro; Windjammer (1976) y Splash (un esfuerzo ligeramente posterior para Fantasy) son puntos bajos. Sin embargo, en 1977, realizó una gira con V. S. O. P. acústico de Herbie Hancock. Quinteto y, en la década de 1980, en grabaciones para Pablo, Blue Note y Atlantic, demostró que podía alcanzar sus alturas anteriores (incluso si gran parte del mundo del jazz se había dado por vencido con él). Pero a fines de los 80, los "problemas personales" de Hubbard y la creciente falta de confiabilidad (no presentarse a los conciertos) comenzaron a lastimarlo realmente, y unos años más tarde, su una vez poderosa técnica comenzó a fallar seriamente. A fines de 2008, Hubbard sufrió un ataque cardíaco que lo dejó hospitalizado hasta su muerte a los 70 años el 29 de diciembre de ese año.Los fanáticos de Freddie Hubbard aún pueden disfrutar de sus muchas grabaciones para Blue Note, Impulse, Atlantic, CTI, Pablo y sus primeros sets de Music Masters.
https://www.allmusic.com/artist/freddie-hubbard-mn0000798326#biography


 

Tracks:
1 - Super Blue - 7:51
2 - To Her Ladyship - 6:00
3 - Take It To The Ozone - 7:02
4 - The Gospel Truth - 5:01
5 - The Surest Things Can Change - 6:19
6 - Theme For Kareem - 6:08
 - Bonus Tracks -
7 - Super Blue (Alternate Take) - 10:36
8 - Take It To The Ozone (Alternate Take) - 6:56
9 - Theme For Kareem (Alternate Take) - 6:44


Credits:
    Arranged By – Freddie Hubbard
    Arranged By, Producer – Dale Oehler
    Bass – Ron Carter
    Design – Tom Steele
    Drums – Jack DeJohnette
    Engineer – Don Puluse
    Engineer [Assistant] – Ted Brosnan
    Flute – Hubert Laws
    Guitar – George Benson (tracks: 2)
    Keyboards – Kenny Barron
    Keyboards [Additional] – Dale Oehler (tracks: 1)
    Mastered By – Bernie Grundman
    Mixed By [Assistant Mixing Engineer] – Derek DuNann
    Mixed By [Mixing Engineer] – Don Hahn
    Photography By – Gary Heery
    Tenor Saxophone – Joe Henderson
    Trumpet, Flugelhorn – Freddie Hubbard

Recorded at CBS Recording Studios, New York.

Label:    Columbia – JC 35386
Country:    US
Released:    1978
Genre:    Jazz, Funk / Soul
Style:    Jazz-Funk, Contemporary Jazz
https://www.discogs.com/release/1668326-Freddie-Hubbard-Super-Blue

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