The end of 2008 was a tough time for me as it related to jazz, primarily because the jazz world lost Freddie Hubbard due to complications from a heart attack right before 2009.
As a trumpet player myself, Hubbard was my biggest influence, but he also struck me as a “survivor”. Both Clifford Brown and Lee Morgan were lost before their time, and Freddie tore through the 70’s with mind-blowing recordings (both live and studio) when jazz needed a trumpeter to be mind-blowing.
I swear to you, I learned how to solo from Hubbard’s recording of “Birdlike”, realized how much harder I needed to work when I heard “Red Clay” and “Straight Life”, and found out how I had no chance of being truly good (yet always inspired) after listening to his Live at the North Sea Jazz Festival recording from 1980.
While things might have declined for Hubbard both personally and professional after that, I always held the special things he did in his prime close to my heart. In situations like this, you always hope there is more. You don’t want him to leave this earth with a few sub-par albums that he struggled through and assume that was it.
For those who have longed to come across some unheard gem from Freddie (and I certainly was one of them), then Pinnacle: Live & Unreleased from Keystone Korner is like that unopened Christmas present that had been forgotten about in the closet for several months until it was wandered across.
Pinnacle: Live & Unreleased from Keystone Korner features live recordings from June and October of 1980, and offers everything a fan would want if they were to be handed a CD from someone who said “Hey, I found some previously unreleased live Hub for ya.” Certainly not polished or commercial enough to ever get a spin on radio, but filled with life and personality that reminds you of why he was so great to begin with.
With this CD, I was actually glad that it wasn’t perfect, at least in the studio quality sense of the word. There are hints of distortion from time to time, but that helps me actually picture Freddie playing with the bell of his horn encompassing the microphone. The balance is off from time to time, but it helps me actually picture the rest of the band around and behind him up on a stage.
And his improvisation is as good as it always was, offering speed, tone, creativity, and range on all tracks, helping me once again refresh my mindset of one of the most talented jazz musicians ever.
For those of us from the Pacific Northwest (and in many cases, beyond), this recording offers even more sentiment, as a few of the tracks feature the late Seattle favorite Hadley Caliman, who passed away at the end of 2010. To hear Freddie and Hadley tear it up on “Giant Steps” brings back wonderful memories of two talents gone but not forgotten.
This is a great album that should be added to your collection, but do yourself a favor and purchase the actual CD, rather than a digital download. The liner notes are exceptional, and feature wonderful photos of Freddie and Hadley, as well as Larry Klein, Eddie Marshall, Billy Childs, David Schnitter, and Phil Ranelin, who make up the rest of the musicians on this release.
Fans of Freddie Hubbard should treat this release as a collectors item and something to smile about versus something that comes up on an Mp3 shuffle. Highly recommended.
This year blue Note Records turned 70 years old. While many other record labels have come and gone over 70 years, Blue Note has not only managed to stay in business, but to continue to turn a profit and avoid having to cut down on their artist roster. In recent years, this is due in large part to their online download sales and some successful crossover artists including Norah Jones and Al Green.
The oldest recording on the list, but a great chance to hear Miles in the early stages of what would lead to super stardom.
One of the finest examples of why Blakey was not only a great musician, but a great band leader and mentor to those who he recorded with.
This album is not only one of the greatest big band albums ever, but features what might be the sweetest, most beautiful ballads ever with A Child is Born.
I played in a small group once where our director made our pianist listen to this album over and over until our pianist “finally got it”. Silver was one of the best at playing with his group, rather than just playing.
When you listen to the title track, it might seem simple in structure. But only Herbie and his hand-picked group could make it sound so perfect.
There is not likely a musician who I wish could have had more time to produce more recordings than Lee Morgan. Losing him at age 33 was a tragedy, but what he did produce withstands the test of time.
An album that brought energy into the 70’s, as well as the young Brecker Brothers. Enjoyable the whole way through.
This album hosts what is probably one of the most recognizable jazz tunes, even if you aren’t a jazz fan. Once again, Hancock gets together the perfect cast for these memorable recordings.
I could listen to Freddie solo on Birdlike for hours. Whether playing fast or slow, high or low, Hubbard could always keep his solos imaginative and interesting.
The first Coltrane album I ever owned, and years later it still gets heavy rotation on my personal playlist. One of the finest recordings in the history of jazz.
