Wednesday, March 11, 2015

FREDDIE HUBBARD – Here To Stay (1962, LP-1985)




Label: Blue Note – BST 84135
Format: Vinyl, LP, Album / Country: US / Released: 1985
Style: Hard Bop, Improvisation
Recorded on December 27, 1962 at Van Gelder Studio, Englewood Cliffs, New Jersey.
Design [Cover] – Reid Miles
Liner Notes – Peter Keepnews
Producer – Alfred Lion
Recorded By [Recording By] – Rudy Van Gelder

This album was scheduled for release as BST 84135 in 1963 but was never issued.
It first appeared as part of a Hubbard double album (BNLA 496-2) in 1976.
It is issued here for the first time with the original Reid Miles cover from 1963.

A1 - Philly Mignon . . . . . . . . . . 5:28
         (by – Freddie Hubbard)
A2 - Father And Son . . . . . . . . . . 6:34
         (by – Cal Massey)
A3 - Body And Soul . . . . . . . . . . 6:25
         (by – Heyman, Eyton, Green, Sour)
B1 - Nostrand And Fulton . . . . . . . . . . 7:07
         (by – Freddie Hubbard)
B2 - Full Moon And Empty Arms . . . . . . . . . . 5:25
         (by – Kaye, Mossman)
B3 - Assunta . . . . . . . . . . 7:05
        (by – Cal Massey)

Freddie Hubbard – trumpet
Wayne Shorter – tenor saxophone
Cedar Walton – piano
Reggie Workman – bass
Philly Joe Jones – drums, percussion

Scheduled for release in 1962 and then effectively shelved until 1986, “Here To Stay” is another of the seminal Blue Note albums that failed to see the light of day at the time of recording. Perhaps this reflects the difficult choices that Albert Lion had to make too often in order to keep a small independent record label afloat.




“Here To Stay” is a fine and early example of Freddie Hubbard, then aged only 24, as a fully formed imaginative voice in jazz. The band - Wayne Shorter (tenor saxophone); Cedar Walton (piano); Reggie Workman (bass); Philly Joe Jones (drums) – offers an ideal platform; all these musicians except Philly Joe Jones were working together at the time with Freddie Hubbard in Art Blakey’s Jazz Messengers and the understanding they had developed shows. But it is Freddie Hubbard’s trumpet playing that really impresses; no wonder that his inventiveness on the instrument is still so admired today.

“Philly Mignon”, the opening track and a Freddie Hubbard composition is all about virtuoso trumpet licks, played fast, perhaps too fast. The other Freddie Hubbard composition on the album, “Nostrand And Fulton”, however is waltzy and fluid. “Father And Son”, the first of two Cal Massey compositions starts out as lightweight samba based bluesy ballad but then goes through interesting transitions, finally emerging as a loose-limbed good time feel blues. The second Cal Massey composition, “Assunta” has Wayne Shorter sounding very Coltrane-like and seems to be mainly a vehicle for him until Freddie Hubbard interjects with a characteristically fluent solo that changes the pace and direction. “Full Moon And Empty Arms” dates from 1946 and is based on a melody from the third movement of Rachmaninoff's Piano Concerto No. 2 in C Minor with words and arrangement by Buddy Kaye and Ted Mossman. It was recorded by Frank Sinatra and is not highly regarded. Freddie Hubbard and the band here go some way to rescuing it but without complete success.

The stand out track is a fine version of the standard “Body And Soul”. Comparison with Coleman Hawkins’ classic 1939 tenor sax version of the Johnny Green song or even with John Coltrane’s 1960 version on “Coltrane’s Sound” shows just how far Freddie Hubbard had come with a truly modern appreciation of the song and how to interpret it for trumpet.

“Here To Stay” is a very welcome addition to the Freddie Hubbard catalogue and is highly recommended.



If you find it, buy this album!

10 comments:

  1. FREDDIE HUBBARD – Here To Stay (1962, LP-1985)
    Vinyl Rip/FLAC+Cover

    1fichier:
    https://1fichier.com/?kb500mj0lu

    ReplyDelete
  2. Vitko:
    Thank You! Now for a completely unrelated question, please identify the
    two saxophonists in the banner poster! I've always wondered who the
    player on the left is blowing two horns. Many thanks!

    ReplyDelete
    Replies
    1. I am glad that you asked. These are the two saxophonists who have never played together. I made this collage-photo, on the right is David S. Ware, about him possibly know everything, and the left is David Jackson saxophonist progressive band Van der Graaf Generator.

      Here's some information about him.

      David Nicholas George Jackson (born 15 April 1947), nicknamed Jaxon, is an English progressive rock saxophonist, flautist, and composer. He is best known for his work with the band Van der Graaf Generator. He has worked with artists including Peter Gabriel, Keith Tippett and Howard Moody.

      His saxophone-playing is characterized by the frequent use of double horns, playing two saxophones at the same time, a style he copied from Rahsaan Roland Kirk (whose style and technique influenced Jackson). He also plays flutes and whistles. In the NME reviewer Jonathan Barnett called David Jackson "the Van Gogh of the saxophone - a renegade impressionist, dispensing distorted visions of the world outside from his private asylum window"

      Jackson attended the University of St Andrews, reading psychology, and University of Surrey, Roehampton, studying teaching. He has worked as a mathematics teacher for primary children in the UK.

      He has also worked with physically and mentally disabled people, enabling them to make music through the use of a technology known as Soundbeam. He is also a Soundbeam trainer, system designer and builder. A documentary about his work with autistic children was broadcast on BBC Radio 4 in 1998.

      Regards.

      Delete
    2. I'd wondered about that myself. I'm a little embarrassed because while I'd also wondered who they were, I'm in fact I'm very familiar with both. Two fine players.

      Delete
  3. Vitko, thank you very much!!

    ReplyDelete
  4. hello. thank you for the excellent record. you can put your LP vinyl on the site of passage
    plastinka-rip.ru

    best regards

    ReplyDelete
  5. Vitko:
    Thank you for the info, we're probably all acquainted with the work of David S. Ware, and I pretty much figured out that was him, but David Jackson is another matter. I've certainly heard of Van der Graf Generator but don't know their discography, maybe one day should post an outstanding example of his playing.

    ReplyDelete
    Replies
    1. Yes, it is not at all a bad idea.

      Delete