Backlash [Remaster]

Performer: Freddie Hubbard
Artist: James Spaulding; Ray Barretto
Distributor: E1 Distribution (USA)

Notes: Personnel: Freddie Hubbard (trumpet, flugelhorn); James Spaulding (alto saxophone, flute); Albert Dailey (piano); Bob Cunningham (bass); Otis Ray Appleton (drums); Ray Barretto (percussion). Producer: Arif Mardin. Reissue producers: Donald Elfman, Naomi Yoshii. Engineers: Tom Dowd, Phil Iehle, Adrian Barber. Recorded at Atlantic Studios, New York, New York on October 19 & 24, 1966. Originally released on Atlantic (1477). Includes liner notes by Nat Hentoff. Digitally remastered by Gene Paul (DB Plus Digital Services, New York, New York). Personnel: Freddie Hubbard (trumpet, flugelhorn, horns); James Spaulding (flute, saxophone, alto saxophone); Albert Dailey (piano); Otis Ray Appleton (drums); Ray Barretto (percussion). Liner Note Authors: Ira Gitler; Nat Hentoff. Recording information: Atlantic Studios, New York, NY (10/19/1966/10/24/1966). Photographer: David Gahr. Originally released in 1967, BACKLASH shows a young Freddie Hubbard beginning his explorations outside the confines of straight-ahead jazz. The tunes here have a rock-soul flavor and show Hubbard absorbing all that was in the air at that moment. The title track, penned by Donald Picket, easily rolls over the seductive groove laid down by drummer Otis Ray Appleton and showcases Hubbard's shining tone and the fine playing of his old friend, alto saxophonist James Spaulding. As always, the influence of Clifford Brown is evident in Hubbard's playing, but there is also the echo of Lee Morgan's trumpet work on the classic '60s recording SIDEWINDER. On several cuts, including "Backlash" and, most notably, "Little Sunflower," the subtle percussion of Ray Barretto adds polish to the sweet Latin sheen. That latter track also benefits from Spaulding's delicate flute work. Pianist Albert Daily and bassist Bob Cunningham round out the rhythm section.

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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