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Breaking Point Extra tracks, Original recording remastered

5 out of 5 stars 6 customer reviews

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Audio CD, Extra tracks, Original recording remastered, June 29, 2004
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$9.99 & FREE Shipping on orders over $35. Details Only 8 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.

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Product Details

  • Audio CD (June 29, 2004)
  • Number of Discs: 1
  • Format: Extra tracks, Original recording remastered
  • Label: Blue Note
  • ASIN: B0002A2VMI
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #90,413 in Music (See Top 100 in Music)

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Format: Audio CD
After a brief absence in the Blue Note catalog, it is wonderful to see Freddie Hubbard's "Breaking Point" reissued via the RVG series. Though I have to confess, it would have been nicer so see rarer OOP titles like "Here to Stay" or "Blue Spirits" back in print instead. In fact, "Breaking Point" is the studio album Freddie made in between those two aforementioned titles. This May 7, 1964 session features Hub on trumpet, James Spaulding on alto sax and flute, Ronnie Matthews on piano, Eddie Kahn on bass and Joe Chambers on drums. The four Hubbard original compositions show the trumpeter moving away from his straightforward Messenger grooves to more of an avant-garde/free form style. With that being said, the album's wildest track is the Chambers-penned "Mirrors." The drummer (BTW, making his Blue Note debut here) was an amazing writer and IMO should have been given his own Blue Note session as a leader, though many will argue the second-half of Bobby Hutcherson's "Components" is basically just that. Finally, the disc's two alternate takes are shorter versions of "Blue Frenzy" and "Mirrors," which were paired for 45 single release back in the day. While not Freddie Hubbard's finest session, "Breaking Point" is certainly worth braking for.
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Format: Audio CD Verified Purchase
This is arguably one of Hubbard's finest BN releases. I won't go into the particulars of the playing other than to say it's great.

I already had an originally mastered CD of this album. So now I have two + my original vinyl copy. I bought this one because the RVG remasters are a marked improvement over the original BN issues.

I know others think the RVG stuff is not any better (or even inferior to) the original Van Gelder issues. Again, I don't agree, and not all RVGs are created equal for sure. But this RVG (relative to the original) seems less compressed with a more accurate rendering of horn placement and sonics.

One caution: When judging RVG remasters relative to their original CDs one must lower the volume on the RVG in order to make meaningful comparisons. I do this with a SPL meter. I just find more musical information available with the RVGs in general.

Now if BN and Van Gelder would just remaster "At the Jazz Corner of the World." This is perhaps one of BN's finest audio captures in my opinion along with Shorter's "Speak No Evil."

Also, the RVG remasters have been bettered sonically with the XRCD reissues. But at $29.95 a pop they are not that much better than good old RVG stuff.

Finally, let's give praise to Rudy Van Gelder (is he still around?). He should receive a Kennedy Center award or something. The reason BN is still on the map is because of his recording expertise. A reasonable conclusion is that RVGs sound so good because Van Gelder had something great to work with--the original.

So I'm happy I've got three versions of Breaking Point, 1) The LP, 2) the original CD, and now 3) the RVG version.

An absolutely great session.
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Format: Audio CD
Freddie Hubbard had some of his peak years at Blue Note where he made some excellent albums like "Ready for Freddie", "Hub-tones", "Blue Spirits" and this ringer, the first for his own group featuring a promising drummer, Joe Chambers, who would make his name as a composer also. His Indiana cohort, the under-rated James Spaulding, is on hand to provide Hub the push on tunes like "D-minor Mint", Chambers' classic ballad, "Mirrors", and the title tune, a study in modality plus tinges of Latin/Caribbean soul. This is the same group I saw in San Francisco at the now defunct Both/And and it cooked then--and it does on this record. Though his chops are practically gone nowadays, one should relish this great classic album as one of Hubbards finest, if not the finest!!
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