Home
About Me
Journal Archives
Music I Like
Photos
Links
   
   
  7/2/2009

Goodbye to a Jazz Trumpet Immortal

Post Date: 1/1/2009

hubbard1On December 29, 2008 jazz lost one of it's greatest champions.  Freddie Hubbard left us at the age of 70 after breaking new ground with regards to trumpet playing.  When a friend sent me a text message with the news of his passing, I was in complete and utter shock.  While I knew he was sick I hoped he would come through it fine.  As one of the jazz trumpet immortals, I think I believed he would be here forever.

When I listened to Freddie play, he gave me two feelings - inspiration and intimidation.  Hearing him soar through the music with reckless abandon would make me want to run to the practice room to work on my craft.  At the same time, hearing him play was the equivalent of looking at a 100 foot wall that you know you'll never scale.  I still struggle with those two emotions and have experienced them with other players like Lee Morgan and Woody Shaw.  They all set the bar so high with regards to creativity and technique.  Hearing Freddie rip through a song like "Powder Keg" from Wayne Shorter's Wayning Moments is always enough to make me want to toss my horn into the nearest trash can and become a spectator again.  Fortunately (or unfortunately depending on the day), I love the music and horn too much.  Trumpet players are masochists in every sense of the word.

Freddie Hubbard's body of work is some of the finest jazz.  On every recording that I own he swung for the fences and left nothing in the tank.  His ability to kick up the energy of a recording session was obvious to the ear.  You could feel it too.  I imagined the studio completely ablaze as a result of his playing.  As a result, band mates would respond in kind for fear of letting the fire that he started - die.  Freddie did not save his best work for sessions where he was leader.  Some of his finest playing was as a sideman as evident in Oliver Nelson's Blues and the Abstract Truth, Herbie Hancock's Maiden Voyage (as well as Empyrean Isles) and Wayne Shorter's Speak No Evil.  His work with Art Blakey and the Jazz Messengers remain some of my favorites.

While Freddie was known for his fiery playing he could lay down a ballad better than anyone in the business.  When I decided to play flugelhorn as my main axe I was told by Pat Harbison to seek out a recording of Freddie playing "Here's That Rainy Day" from his Straight Life recording.  It's a textbook example to how a flugelhorn should sound.  Combine that sound with Freddie's ability to weave melodic lines effortlessly...  to say it was beautiful was an understatement.  I played that tune into the wee hours of the night when I heard Freddie had passed and the tears flowed.

Here Comes That Rainy Day

God speed Freddie Hubbard.  You'll be missed but never forgotten.  There isn't a jazz musician alive today who was not touched or inspired by your work.  I and legions of others will think of you whenever we pick up our horns to play.

hubbard2


To learn more about Freddie Hubbard check out the links below:

Freddie Hubbard Official Site

Freddie Hubbard Wikipedia

Freddie Hubbard "When Your Chops Are Shot"

Randy Brecker picks 12 essential Freddie Hubbard solos

Into the Blue - Nicholas Payton

Since he came on the scene, Nicholas Payton has been known for his killer technique and big sound. Listening to him you could easily hear the influences of Freddie Hubbard, Lee Morgan and Woody Shaw – all cats who could make flames jump out the bell of their horns. It would be a safe statement to say that Nick can pretty much do it all when it comes to trumpet. While some may argue that this recording lacks the fire of his previous works, to me Into the Blue feels like new chapter in the musical life of its composer. I find it to be more honest and real than anything he has released to date and because of that I consider it his best thus far.

I read one comparison between Into the Blue and the Miles Davis classic recording of Kind of Blue and there is evidence to support that statement. While Nick may be known for high energy, several songs feature some of the most soulful, melodic and thoughtful playing that I’ve ever heard from him or any other trumpet player. “Drucilla” starts off melancholy and moody before gradually transforming into a swinging affair that ends far too soon. “Let It Ride” and “The Backward Step” also feature the same fantastic playing. When I caught Nicholas at Blues Alley a few weeks ago he had added lyrics to these tunes which makes sense when you hear them. They practically scream for words. He also lends his voice to the tune “Blue” following in a long line of trumpet players who also sang (Louis Armstrong, Chet Baker, and Clark Terry to name a few). “Triptych” and “Nida” remind me of DC’s homegrown sensation of go-go. Both are groove based and feature in the pocket percussion.

What is amazing to me is Nick’s transformation with regards to sound and style. Even his phrasing feels different. Needless to say I enjoy this album very much. Run (do not walk) to the store and pick this one up. Feeling lazy? Pull iTunes and download it. You will not be disappointed.