Ready for Freddie [Bonus Tracks] [Remaster]

Performer: Freddie Hubbard
Artist: Wayne Shorter; McCoy Tyner; Art Davis; Elvin Jones
Engineer: Rudy Van Gelder
Producer: Alfred Lion; Michael Cuscuna (Reissue)
Distributor: EMI Music Distribution

Notes: Personnel: Freddie Hubbard (trumpet); Wayne Shorter (tenor saxophone); Bernard McKinney (euphonium); McCoy Tyner (piano); Art Davis (bass); Elvin Jones (drums). Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on August 21, 1961. Includes liner notes Nat Hentoff and Bob Blumenthal. This is part of the Blue Note's RVG series. Personnel: Freddie Hubbard (trumpet); Wayne Shorter (tenor saxophone); Bernard McKinney (euphonium); McCoy Tyner (piano); Elvin Jones (drums). Audio Remasterer: Rudy Van Gelder. Liner Note Authors: Nat Hentoff; Bob Blumenthal. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (08/21/1961/11/30/1962). Photographer: Francis Wolff. Of all the talented young trumpeters to emerge in the late 1950s, few were gifted with the astonishing technical aptitude of Indianapolis native Freddie Hubbard. Whereas friend, contemporary and erstwhile rival Lee Morgan seemed to reflect the braggadocio of Dizzy Gillespie, Hubbard was more in tune with the supple airborne phrasing of Clifford Brown, which is why drummer Art Blakey brought Hubbard into the Jazz Messengers to supersede Morgan--figuring he would prove a less dominating foil for the emerging talents of tenor saxophonist and musical director, Wayne Shorter. Not that Hubbard lacked fire. It's just that his harmonic sensibility and chops were so refined, he was able to approximate the fluidity of a saxophonist--which is why the young virtuoso got the nod for special projects by Eric Dolphy, Ornette Coleman and John Coltrane. The latter's shadow looms prominently over the proceedings on READY FOR FREDDIE, Hubbard's fourth and most compelling date as a leader: Wayne Shorter is still discovering his own way through Coltrane-ish phrases and harmonic devices, Bernard McKinney's euphonium provides a stark contrasting timbre, while the rhythm section from OLE COLTRANE confers a supple, shifting groove to the proceedings. Hubbard distinguishes himself both as improviser and composer. The jagged harmonic contrasts that announce "Arietis" segue into a bright groove, as the trumpeter unwinds complex, unhurried lines against pianist McCoy Tyner's varied comp and the big loose beat of Art Davis and Elvin Jones. On "Weaver Of Dreams," Hubbard displays a lithe, rounded attack, making confident musical use of trills and double-time syncopations over Jones' cat-like brushes. Shorter's "Marie Antoinette" is a radiant, upbeat theme that inspires rollicking tenor and trumpet solos, while Hubbard's "Birdlike" offers the challenge of a wildly syncopated theme and driving rhythm changes, which the trumpeter meets with bold, urgent lines and boppish accents. And the dancing Afro-Cuban vamp, fervent tag-line and swinging release of Hubbard's "Crisis" showcases each soloist at an imaginative peak. Recorded in 1962, Ready for Freddie is one of the finest moments on record for the young Freddie Hubbard. Just 24 at the time of the session, Hubbard shows an incredible confidence as a leader with a hotshot group of players: Wayne Shorter, Elvin Jones, McCoy Tyner, and Detroit's Bernard McKinney on euphonium. With a solid hard bop framework, some of Hubbard's later funkiness enters into his playing and charts on "Crisis," and his beautiful, elongated lines are showcased on "Arietis." Along with the Hubbard tunes, Shorter contributes his beautiful "Marie Antoinette" to the session, and the gorgeous group playing on "Weaver of Dreams" was a high point for the label during that calendar year. But the real dazzler is the flying tempo of Hubbard's "Birdlike." His and Shorter's solos are as dizzying as they are complex. The 2004 Rudy Van Gelder edition is remastered, of course, and contains the same two tracks that were on the Japanese version: alternates of "Arietis" and "Marie Antoinette." This is a great Hubbard date and should not be missed by anyone interested in his work for Blue Note or in hard bop in general. ~ Thom Jurek

JazzTimes (2/96, p.84) - "...a showcase for Hubbard's most refined writing and arranging, as the trumpeter transcends his remarkable technique to maintain a steely melodic focus..."

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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