in Rochester, New York, 1976
|Birth name||Frederick Dewayne Hubbard|
|Born||April 7, 1938|
|Origin||Indianapolis, Indiana, U.S.|
|Died||December 29, 2008
Sherman Oaks, California, U.S.
|Labels||Atlantic, Columbia, CTI, Blue Note|
Frederick Dewayne "Freddie" Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 1960s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.
Hubbard started playing the mellophone and trumpet in his school band at Arsenal Technical High School in Indianapolis, Indiana. Trumpeter Lee Katzman, former sideman with Stan Kenton, recommended that he begin studying at the Arthur Jordan Conservatory of Music (now the Jordan College of Fine Art at Butler University) with Max Woodbury, the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.
Then in May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only 'session' musician who appeared on both Olé and Africa/Brass, Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard joined Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.
It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.
Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including, Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch, Herbie Hancock's Maiden Voyage, and Wayne Shorter's Speak No Evil. He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the 1960s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension, as well as on Sonny Rollins' 1966 'New Thing' track East Broadway Run Down with Elvin Jones and Jimmy Garrison.
Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson. Although his early 1970s jazz albums Red Clay, First Light, Straight Life, and Sky Dive were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.
In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as VSOP, VSOP: The Quintet, VSOP: Tempest in the Colosseum (all 1977) and VSOP: Live Under the Sky (1979).
Hubbard's trumpet playing was featured on the track "Zanzibar", on the 1978 Billy Joel album 52nd Street (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An "unfaded" version was released on the 2004 Billy Joel box set My Lives.
In the 1980s Hubbard was again leading his own jazz group, attracting very favorable reviews, playing at concerts and festivals in the USA and Europe, often in the company of Joe Henderson, playing a repertory of Hard-bop and modal-jazz pieces. Hubbard played at the legendary Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He played with Woody Shaw, recording with him in 1985, and two years later recorded Stardust with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in Holland, from which came Feel the Wind. In 1990 he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz and vocalist Salena Jones. He also performed at the Warsaw Jazz Festival at which Live at the Warsaw Jazz Festival (Jazzmen 1992) was recorded.
Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career. His best records ranked with the finest in his field.
On December 29, 2008, Hubbard's hometown newspaper, The Indianapolis Star, reported that Hubbard had died from complications from a heart attack suffered on November 26. Billboard magazine reported that Hubbard died in Sherman Oaks, California.
Freddie Hubbard had close ties to the Jazz Foundation of America in his later years. Freddie is quoted as saying, “When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people." The Jazz Foundation of America’s Musicians' Emergency Fund took care of him during times of illness. After his death, Hubbard’s estate requested that tax-deductible donations be made in his name to the Jazz Foundation of America.
|Open Sesame||1960||Blue Note|
|Goin' Up||1960||Blue Note|
|Hub Cap||1961||Blue Note|
|Ready for Freddie||1961||Blue Note|
|The Artistry of Freddie Hubbard||1962||Impulse!|
|Here to Stay||1962||Blue Note|
|The Body & the Soul||1963||Impulse!|
|Breaking Point||1964||Blue Note|
|Blue Spirits||1965||Blue Note|
|The Night of the Cookers||1965||Blue Note|
|Jam Gems: Live at the Left Bank||2001||Label M|
|High Blues Pressure||1968||Atlantic|
|A Soul Experiment||1969||Atlantic|
|The Black Angel||1970||Atlantic|
|The Hub of Hubbard||1970||MPS|
|Sing Me a Song of Songmy||1971||Atlantic|
|Freddie Hubbard/Stanley Turrentine In Concert Volume One||1974||CTI|
|In Concert Volume Two||1974||CTI|
|Keep Your Soul Together||1974||CTI|
|Bundle of Joy||1977||Columbia|
|The Love Connection||1979||Columbia|
|Live at the North Sea Jazz Festival||1980||Pablo|
|Mistral with Art Pepper||1981||Liberty|
|Keystone Bop Vol. 2: Friday & Saturday||1996||Prestige|
|Keystone Bop: Sunday Night||1982||Prestige|
|Born to Be Blue||1982||Pablo|
|Ride Like the Wind||1982||Elektra/Asylum|
|Above & Beyond||1982||Metropolitan|
|Back to Birdland||1982||Real Time|
|The Rose Tattoo||1983||Baystate (Japan)|
|Double Take with Woody Shaw||1985||Blue Note|
|Life Flight||1987||Blue Note|
|The Eternal Triangle with Woody Shaw||1987||Blue Note|
|Feel the Wind with Art Blakey||1988||Timeless|
|Times are Changing||1989||Blue Note|
|Topsy - Standard Book||1989||Alpha/Compose|
|At Jazz Jamboree Warszawa '91: A Tribute to Miles||2000||Starburst|
|Live at Fat Tuesday's||1992||Music Masters|
|Blues for Miles||1992||Evidence|
|MMTC: Monk, Miles, Trane & Cannon||1995||Music Masters|
|New Colors||2001||Hip Hop Essence|
|On The Real Side (70th Birthday Celebration)||2008||Times Square Records|
With Roberto Ávila & Sarava
With George Benson
With Art Blakey
With Tina Brooks
With Kenny Burrell
With George Cables
With Ornette Coleman
With John Coltrane
With Eric Dolphy
With Kenny Drew
With Charles Earland
With Bill Evans
With Joe Farrell
With Curtis Fuller
With Benny Golson
With Dexter Gordon
With Herbie Hancock
With Joe Henderson
With Andrew Hill
With Bobby Hutcherson
With Milt Jackson
With Billy Joel
With Quincy Jones
With Kirk Lightsey
With Jackie McLean
With the Modern Jazz Quartet
With Wes Montgomery
With Alphonse Mouzon
With Oliver Nelson
With Duke Pearson
With Oscar Peterson
With Sam Rivers
With Sonny Rollins
With Poncho Sanchez
With Don Sebesky
With Lalo Schifrin
With Wayne Shorter
With Leon Thomas
With Stanley Turrentine
With McCoy Tyner
With Randy Weston
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