Customer Reviews

Ready for Freddie

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4 star:		(1)
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I have written several glowing reviews of trumpeter Freddie Hubbard's Blue Note recordings -- "Open Sesame," "Goin' Up," "Hub Cap," and "Hub-Tones" -- but "Ready for Freddie" is his finest album for the label. Originally released on CD in the limited edition Connoisseur series, it makes a permanent return to the catalog now in the RVG series. Recorded on August 21, 1961, this session features Wayne Shorter on tenor sax, Bernard McKinney on euphonium (!), McCoy Tyner on piano, Art Davis on bass and Elvin Jones on drums. What primarily distinguishes this set from earlier efforts is the maturity of Hubbard's original statements, both in terms of his playing style and his compositions. His already overflowing talent was even further developed during this period in his career, as he concurrently played and recorded on his own and with Art Blakey's Jazz Messengers. In fact, this album's closing track "Crisis" was reprised on the Messengers' classic LP "Mosaic" just six weeks later. The other defining elements for me are the contributions and propulsive play of McCoy and Elvin, who were already thoroughly ensconced in the their classic period with John Coltrane, and the unique sound of Bernard McKinney's euphonium, which adds a deep, melodious baritone to the proceedings. In all, get "Ready" to purchase Freddie Hubbard's best disc.

If you're not a fan of Freddie Hubbard, pick up "Ready for Freddie" and it will likely turn you into one. Armed with skilled players such as Wayne Shorter on sax, Bernard McKinney on euphonium, Elvin Jones on drums and McCoy Tyner on piano, Hubbard's 1961 release (recorded when he was barely in his twenties!) flirts with brilliance and drips with class from track to track. The opener, "Arietis," is classic Hubbard in great form, and he's well complimented by Jones' brisk drumming and Davis's bass. Other standouts include "Marie Antoinette," which has Hubbard and Shorter holding their own respectably, while "Crisis" shows great interplay between all members, with Jones and Davis making particularly strong impressions. Like all jazz greats, Hubbard is careful not to hog the spotlight and gives each musician his moment to shine. "Ready For Freddie" has been digitally remastered on Blue Note by Rudy Van Gelder and features an alternative take of "Arietis" and "Marie Antoinette." It's a near-flawless effort that will find a welcome home in virtually any collection.

Everyone who knows Hubbard, Shorter, Tyner, Jones and Art Davis knows that whenever these guys met - great music was sure to follow. Still, this specific set from November 30th, 1962 has an added spark, an energy that is even higher than expected. The rhythm section is John Coltrane's (Art David played with Trane before Jimmy Garrison) and Shorter is from the great Miles Davis group. In my opinion - the combination of musicians from those two very different groups always produces spectacular results (see Speak No Evil - Shorter-Carter + Tyner-Jones ! and Hubbard too).
Hubbard himself was definitely one of the leading trumpet man of the Sixties - participating in Out To Lunch, Empyrean Isles, as well as his own Open Sesame, Breaking Point, Hub Tones).
On this session every second COOKS ! It may have been the Euphonium of Bernard McKinney who pushed everyone to give something extra, or just a great feeling they all had entering the studio together, taking refuge from the outside world which, in 1962, was not an easy place for these great people.
Just the cd to get - if you are looking for great energy, beautiful compositions, and solos by Shorter and Hubbard who are at their peak !

After hours upon hours of listening to all of his magnificent work, this 1961 Blue Note/RVG recording, is my personal favorite of anything he produced as a leader (with his 1960 debut "Open Sesame" and the CTI classic "Red Clay" tied for second place). Of course, his work on such classics as Herbie Hancock's "Empyrean Isles", and Hank Mobley's "Roll Call" are definitely right up there as well. Bottom line, this guy is simply one of the greatest trumpet players in jazz history and at the end of the day it's all subjective when it comes down to labeling which particular performance was his best. However, I think it's safe to say that "Ready for Freddie" is one of his finest works and very easily merits a five star rating.

Freddie had a really clean, dynamic, fleet and fervent style of playing, always colorful, almost always imaginative. His solo on "Birdlike" is something else and one of my favorite performances of his ever. I can imagine Charlie Parker smiling from above each time I hear it. Wayne Shorter's "Marie Antoinette" is also a favorite of mine, mainly because of its very soothing interplay between each member of the sextet. However, the whole recording is perfect to my ears, and it's almost a sacrilege for me to highlight one piece over another.

Along with Freddie and Wayne (who was really coming into his own at this time) you've got Coltrane's rhythm section of Art Davis (bass), Elvin Jones (drums) and McCoy Tyner (piano). Talk about a trio of cats that can play! In fact, I can honestly say that I have never heard Art Davis sound so perfect, and that's one bold statement I will stand firm by! Please let me know in the comment section if you disagree or think its hyperbole, but he just kills it in my humble opinion on this one. And perhaps the biggest surprise just might be Bernard McKinney (euphonium). He really gave to the group a softer, slightly smoother sound and aided in making this recording a truly distinctive and memorable treasure.

Aaaaaaaah the beauty and charm of jazz music never ceases to amaze me! This is gold folks.

I use to love jazz and the sound of trumpet.
And this is one of he best album made by one of the best trumpet player in jazz history

I have every Hubbard Blue Note album as a leader and most as a sideman, and I'd have to say this one gets the most listens out of me. The lineup is stellar, including McCoy Tyner and Wayne Shorter. Bernard McKinney's Euphonium subtly adds a great amount of depth to the group's sound at the heads. If you are missing this in your collection you really ought to pick it up.

I first heard Freddie Hubbard on Hank Mobley's Roll Call, which was one of my first jazz albums. I really liked his fiery tone and solos on that session, so when I saw this on the shelf, it was an easy choice. What an amazing album. "Arietis" is a great opener, with great choruses from Hubbard (trumpet), Wayne Shorter (tenor sax), McCoy Tyner (piano), and Bernard McKinney (euphonium). Elvin Jones and Art Davis round out the group on drums and bass respectively. One of the most enjoyable parts of this disc for me was the addition of the euphonium, which adds an interesting dimension to the session. It's a shame McKinney made so few Blue Note appearances.

All of the selections are great, but the piece "Crisis" made the whole purchase worthwhile. What a stunning piece of music. In the liner notes, it mentions that this song was composed to reflect the tension of the nuclear world and in my opinion, it succeeds. Without a single lyric, the piece conveys tautness and uncertainty. It's quickly become not just one of my favorite jazz songs, but pieces of music in general. Shorter and Hubbard are both excellent composers, as shown here and on other releases.

In all, I highly recommend this CD. It seems to inhabit the middle ground between hard bop and the post bop that would later follow.

Whew....blistering performances each and every one. The listener is once again reminded what a magnificent force Freddie Hubbard is. He is the illustrious bridge between Miles Davis and Wynton Marsalis. The band is in stellar form here, and this reissue features incredible alternate takes of Freddie's "Areitis" and Wayne Shorter's "Marie Antoinette" And for the drum literate, may we say "Elvin Jones is spoken here"...and what a joyous and swinging discourse it is!

This 1961 sextet session still sounds satisfying, and even adventurous, today. In part that's due to the skill of the musicians, as Hubbard's trumpet is joined by Wayne Shorter on tenor sax, Bernard McKinney on euphonium, and a rhythm section often associated with John Coltrane: McCoy Tyner on piano, Art Davis on bass, and Elvin Jones on drums. Another factor that keeps this set from sounding dated is the good choice of material: three originals from Hubbard, one from Shorter, and a standard called "Weaver of Dreams" that is a great ballad showcase for Hubbard.
As an occasional player of euphonium/baritone horn, I've always felt that this instrument deserves a more prominent place in jazz. It's good to hear some nice solos from McKinney on these tracks, as well as his smooth blend with the three-horn front in the spot usually reserved for trombone.
There are two alternate takes in this collection. Both sound fine, but I tend to leave alternate takes off my playlist unless there's some compelling reason to include them. Excluding the two alternates, the album's playing time is just under 42 minutes.
The front insert includes Nat Hentoff's original liner notes, some pictures from the recording session, and notes added for this 2003 reissue. (Note: The recording date on the CD's back insert is wrong; the correct date is in the front insert booklet.)
I haven't sampled all of Hubbard's early work, so I can't confidently say this is his best album, as others have done. But it is a brilliant piece of work that deserves a spot in any jazz collection.

After recently seeing Freddie Hubbard celebrate his 70th birthday at the Catalina Bar & Grill in Hollywood--I became depressed at what he used to sound like before he injured his embouchure. This album represents Hubbard nearing the zenith of his career before he would create masterful solos on "Maiden Voyage", "Empyrean Isles" and "Blues and the Abstract Truth" (he always sounded better on other people's dates than his own). But this Blue Note comes close--it features some classic Hubbard tunes like "Bird-like", "Aries" & "Crisis" plus Wayne Shorter's "Marie Antoinette". Recorded during his tenure with Art Blakey, Freddie never sounded so fiery in his solos than he did here. If you want something representative of Hubbard than I suggest you cop this one and "Red Clay" (a Hubbard favorite) to your collection.