MMTC (Monk, Miles, Trance & Cannon)

Performer: Freddie Hubbard
Artist: Vincent Herring; Robin Eubanks; Stephen Scott; Carl Allen
Producer: Big Apple Productions
Distributor: Allegro Corporation (Dist

Notes: Personnel: Freddie Hubbard (trumpet); Vincent Herring (alto saxophone); Javon Jackson (tenor saxophone); Gary Smulyan (baritone saxophone); Robin Eubanks (trombone); Stephen Scott (piano); Peter Washington (bass); Carl Allen (drums). Recorded at Power Station Recording Studio, New York, New York on August 19 & 20, 1994 and in January 1995. Includes liner notes by Howard Mandel. Personnel: Freddie Hubbard (trumpet); Vincent Herring (saxophone, alto saxophone); Javon Jackson (saxophone, tenor saxophone); Gary Smulyan (saxophone, baritone saxophone); Robin Eubanks (trombone); Stephen Scott (piano); Peter Washington (bass instrument, bass guitar); Carl Allen (drums). Liner Note Author: Howard Mandel. Recording information: Power Station Recording Studio, New York, NY (08/19/1994-01/??/1995). Arrangers: Pete Yellin; Bob Belden; Bob Mintzer. With MMTC, the rock-solid torchbearer Freddie Hubbard pays tribute to his illustrious influences. With a tight and reverent ensemble of hot young players behind him, Hubbard delivers eight uncompromising classics, mixing his own compositions with those of Coltrane, Monk, and Davis. There's also the tender "Song My Lady Sings," by Charles Lloyd, the echo of a live '60s recording by Cannonball Adderley. Hubbard fires through a charged tempo in Coltrane's "Naima," showcasing the talents of his young accomplices, among them Javon Jackson on tenor saxophone and Vincent Herring on alto. The tunes penned by Hubbard, "Spirit of Trane," "One of a Kind," "Monk," and "Cannon" demonstrate a deep understanding of each of these legendary figures. This effort was recorded in 1995 and is, in a sense, a collaboration of the best three generations of jazz have to offer.

Freddie Hubbard has always been a trumpet player of great facility, suppleness, and polish. Following his breakthrough with the Jazz Messengers in the late '50s, his burnished tone became a focal point of innumerable Blue Note albums of the '60s, both as leader and sideman. After a foray into fusion in the '70s, he returned to the hard bop of his early career.

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