Customer Reviews

Goin Up

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4 star:		(1)
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Every album Freddie Hubbard made for Blue Note is a winner. From "Open Sesame" to "Blue Spirits," Hubbard's albums feature great lineups, increasingly sophisticated compositions, and classic improvisational flights. "Goin' Up" is his second album for Blue Note, and what a great sophomore effort it is. Freddie is joined on this album by Hank Mobley, McCoy Tyner, Paul Chambers and Philly Joe Jones. As with his first album, mostly others lend their writing talents to "Goin' Up." Hubbard wrote only "Blues for Brenda," with Kenny Dorham (at Hubbard's request) and Hank Mobley each contibuting two, and Billy Smith, a friend of Freddie's, adding one. This album is a shining example of the kind of quality recording Blue Note was known for in the 50s and 60s. It's limited on CD so hurry up before "Goin' Up" gets going.

In my quest to obtain more sessions with the great Hank Mobley, I picked up this album. This was a no brainer because Freddie Hubbard has quickly become my favorite trumpet player, particularly when paired with Mobley. for some reason, Hank just seems even more passionate and fiery when coupled with Hubbard, who to my untrained ear pushes Hank more than a Lee Morgan or Art Farmer. Hubbard's playing is so dynamic that I think it forces Mobley to step up his game to compete with the younger man. I love "The Changing Scene", one of two Mobley penned numbers. Hubbard is almost out of control on his solo and Hank Mobley is at his smooth best. Their playing on the two Kenny Dorham numbers are inspired. "I Wished I Knew" is a beautifully rendered ballad. McCoy Tyner lends some able work on the ivories and once again Philly Joe Jones and Paul Chambers lay the perfect foundation. Philly Joe has become my favorite jazz drummer for his solid tempo and restrained fury on solos, especially evident on "Karioka". All five of these musicians acquit themselves admirably on this set. Freddie Hubbard would only get better, but this album is pretty close to perfect.

This may be the first date Hubbard did for Blue Note, it is a 1960 date and it shines like the sun, I mean this is Hubbard's best album and if you dont own it you dont have the best there is.

Hank Mobley lends a sweetness to the sax solos on Hubbard's second album that is beautifully countered by Freddie's forceful playing. If you're at all serious about hard bop, you should have all seven of his Blue Note albums. "Open Sesame" (his first) and this one act as an opening statement, showing an amazing mastery of styles for a 20-year-old, along with a stunning improvisational ability. This CD is currently out of print, so be patient and keep checking for better prices. If you only want one album by Hubbard, it should be "Open Sesame" or "Ready for Freddie". But once you have those you'll want the rest.

Of all of freddie's albums, this is my favorite. I love every song on this album. I can listen to these songs all day (sometimes I do!). The man is a genius and I love his early hard bop style. This is a masterpiece. A must have!

Freddie Hubbard's second set as a leader for Blue Note picks up where his first, Open Sesame, left off with lots of fine, supercharged hard bop.

Hubbard's cast of foils are refined on this outing, though, with only pianist McCoy Tyner holding over. Tenor saxophonist Hank Mobley, a Blue Note stablemate, brings not only a pair of compositions but some superlative blowing. The two horn men definitely bring out the best in each other here.

Tyner's finest moment can be found on the balled "I Wish I Knew", where he contributes some of the most lyrical playing of the set. The inimitable engine room of Paul Chambers on bass and Philly Joe Jones on drums round out the quintet.

Blue Note's output of this era is so consistently strong it is very easy to take individual titles for granted. This one merits multiple listens.

All musicians, especially trumpet players, have a limited window of opportunity during which it's unthinkable not to collect their best work. For Freddie, it's 1958-1970, the latter, the year of "Red Clay," the album that sprung him to international stardom but arguably marked the beginning of the decline. Nonetheless, no trumpeter, with the possible exception of Miles, has had a more distinguished discography, both under his own name and that of seminal greats such as Eric Dolphy, Oliver Nelson, Coltrane, Hancock, Ornette. (Miles didn't like Freddie--Thad Jones was his man--but he must have been listening to his later Columbia recording rival).

What's special about "Goin' Up" (a phrase ironically describing the ascent that led to his lip-busting career-finisher) is inspired work by Freddie and one of his rare appearances with the peerless (sorely underrated), lyrical and soulfully sublime Hank Mobley. Were it not for Mobley's presence, the first four numbers on the program--up-tempo hard bop vehicles--would suffer from sameness. The 5th is a ballad but, if you're downloading, save yourself the extra expense (it's over six minutes; hence Amazon doubles the price), and be sure to pick up Freddie playing "Blue Moon" with Blakey instead. The 6th is more of a funk, back-beat groove number. Unlike Henderson, Mobley is never "merely" different or innovative; unlike Ervin, he's not about to spew testosterone and heat to command your attention. It's all about melody, phrasing, invention, and emotion at the service of a thought. The influence seems to exert its charm on Hubbard, who eschews gratuitous trills and lunges to the stratosphere. The rhythm section is redoubtable (though Garland or Kelly might have been the more appropriate choices on this date.)

Like all of the Blue Note albums with Mobley (at least up to 1967), this one takes flight.