Anybody who has followed the development of Ray Wylie Hubbard as an artist over the last dozen years or so has had to be keenly aware that he's been moving through changes in lyric style, melodic invention, and production styles. He's also been on a spiritual odyssey in his music that culminated on the excellent Eternal & Lowdown. Growl is a record of an awareness gained; it is expressed in the most basic, elemental physical and emotional truths (from humor to doubt to surrender to anger at hypocrisy) in these songs.
It seems strange that folks like Ray Wylie Hubbard once lived such wild lives but have been able to make solid comebacks later in life. Strange, because Hubbard, on Delirium Tremolos, sounds as good as he ever has. Better yet, the album has a nice, mellow country sound, and Hubbard has discarded, for the time being, his penchant for preachy, comic songs.
This well-recorded outing (which has been reissued on CD by Drive Archive) was trumpeter Freddie Hubbard's first worthwhile studio recording (with the exception of Super Blue) since the mid-'70s. Essentially a bebop date, Hubbard is teamed with a sextet comprised of altoist Richie Cole, trombonist Ashley Alexander, pianist George Cables, bassist Andy Simpkins and drummer John Dentz; altoist Med Flory sits in on "Byrdlike." Hubbard shows on such standards as "Shaw Nuff," "Star Eyes" and "Lover Man" that he could still play straightahead jazz with the best of them, Alexander is featured on "Stella by Starlight" and Cole is also in excellent form.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.
From start to finish, Lisa Hubbard guides you through class with smooth transitions and insightful cues. As you move along, you'll find your body is well prepared for the exercises that follow, leaving you with a sense of deep connection and flow. You might even be surprised at how fast this class zooms by given how much you'll accomplish.
Jazz funk genius from Freddie Hubbard in the mid 70s! Gleam was a Japanese-only double album from the jazz giant in its original release – mighty funky at times, too – right up there with some of the best Miles Davis and Herbie Hancock Japanese sets from the 70s! It's a live set captured in March of '75 at Tokyo's Yubin Chokin Hall – long numbers played by a group that includes Freddie on trumpet, Carl Randall on tenor and flute, George Cables on electric piano, Henry Franklin on bass, Carl Burnett on drums, and Buck Clark on percussion! Each player has plenty of space to groove, and it's very well captured – you can hear the most expressive solos and the most subtle nuances.
Sweet Return is a definitive outing from the energetic trumpeter Freddie Hubbard. Joined by an all-star lineup of bassist Eddie Gomez, pianist Joanne Brackeen, drummer Roy Haynes and tenor Lew Tabackin, the ensemble tenderly interprets standards with an overwhelming amount of originality. Standout moments included the classics, “Misty,” “Whistling Away The Dark,” and “The Night Has A Thousand Eyes.” Hubbard’s timing is beautifully spaced and his tone has never sounded more vibrant.