"This 1965 album marks Lee Morgan's and Freddie Hubbard's final studio appearances as members of Art Blakey's Jazz Messengers. The set also includes a young John Hicks on piano, bassist Victor Sproles, and veteran saxophonist Lucky Thompson. It may lack the sheer high-energy crackle of some of the earlier Blue Note dates, there is quite a bit to enjoy here. The title tracks kicks off in bluesy style with the three-horn front line in a slightly dissonant intro before moving in a fingerpopping groover. The spunky Latin groove of "Buh's Bossa" offers Blakey's consummate chops accenting the knotty, sometimes snaky melody line with some excellent comp work by Hicks. Thompson's soprano sax makes a beautiful appearance on "Spot Session," a sultry little groover. Highlight of the set is "Freedom Monday," that offers taut hard bop lyric lines, extended harmonies in the front line -- especially between Hubbard and Morgan -- and a smoking Afro-Cuban rhythmic line highlighted by Blakey and Hicks." (Thom Jurek, Allmusic)
"This CD, Freddie Hubbard's last Blue Note release of the 1960s, adds two numbers to the original LP program and features the great trumpeter in three challenging settings ranging from a sextet to an octet. Hubbard uses such sidemen as altoist James Spaulding, tenors Joe Henderson and Hank Mobley, the euphonium of Kiane Zawadi, pianists Harold Mabern, McCoy Tyner and Herbie Hancock, bassists Larry Ridley, Bob Cranshaw and Reggie Workman, drummers Clifford Jarvis, Pete La Roca and Elvin Jones, the congas of Big Black and on one song bassoonist Hosea Taylor. The set is comprised of seven diverse Hubbard originals" "Blue Spirits is the true peak of Hubbard's acoustic output. Lengthy playing times give him and his stellar assemblage of sidemen plenty of room to improvise while still maintaining the sinewy, brooding grooves that Hubbard was no doubt looking for when he said that he was trying to get a "dark sound" on this album. Definitely a worthy addition to any collection. (Allmusic)
"Part of an explosion of solo albums Wayne Shorter recorded just after he joined Miles Davis' band, "The Soothsayer" wasn't released until the late '70s. Listening to the album, it is hard to believe because it ranks with the best of his works from this incredibly fertile period. Shorter has been called Davis' 'idea man' and the creativity and thoughtfulness that earned him that moniker are quite evident here. The album's five originals and one arrangement (of Sibelius' Valse Triste) show a multi-layered complexity that seems effortless even as it weaves together contributions from a very strong, stylistic sextet. Of particular interest is the interplay of the three horn players, including altoist James Spaulding and trumpeter Freddie Hubbard. As a performer, Shorter also shows a lot of strength, with fluid, at times subtly evocative, solos that bloom with energy without ever seeming frantic or harsh." (Stacia Proefrock, Allmusic)
Klassieker van saxofonist (as, ss & ts)/arrangeur, met topbezetting: Bill Evans, Roy Haynes, Eric Dolphy, Paul Chambers en Freddie Hubbard. Mooi is 't contrast tussen de solo's van hem (direct, to the point) en die van de avontuurlijke Dolphy. (JG)
"The Hank Mobley heard here was a markedly different one from a few years earlier. This album issued in early 1965 was the product of two different sessions. The first was in March of 1963, immediately after Mobley left the Miles Davis band. Those recordings produced "East of the Village," possibly the greatest example of Mobley's 'round tone' on record, and the other was "The Good Life," a ballad. The rest was recorded nearly two years later in February of 1965. Among others the title cut was produced here -- an answer to Lee Morgan's "Sidewinder". In each case, there were alumnus members of the Miles band Mobley had played in. The main thing about "East of the Village" is the striking difference between the gorgeous melding of Latin and post-bop, straight-ahead rhythms, and the easy, loping blues feel that is cheered on by Jones. In all this is a solid date, despite its time lapse, and one that gives us a solid picture of the two Mobleys." (Thom Jurek, Allmusic)
Killer-hardbop-album uit 1961 met een superbezetting: naast saxofonist Mobley is Freddie Hubbard (trompet) in topvorm. Ze worden bijgestaan door Wynton Kelly (piano) en Paul Chambers (bas). Het ensemble wordt voortdurend achter de voddengezeten door de energieke Art Blakey die opvallend zijn aanwezigheid laat blijken met knallend en roffelend spel.
"Recorded 1972 at Rudy Van Gelder's Englewood, New Jersey, vibraphonist Milt Jackson's Sunflower is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. With a core band consisting of Herbie Hancock, bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. While Sunflower sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty." (Allmusic)
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