This excellent 1966 set features a diverse range of ensembles, all lead by trumpeter Freddie Hubbard. The first is an octet, featuring congas and a euphonium; the second, a seven-member group, including the great McCoy Tyner on piano; the third is a sextet that boasts drummer Elvin Jones and Herbie Hancock (who doubles on piano and celeste). James Spaulding lends his alto sax and flute to two of the groups, and Joe Henderson is in two as well (his melodic, yet adventurous, tenor sax playing is especially notable). Also featured are tenor player Hank Mobley, bassist Reggie Workman, pianist Harold Mabern, and drummer Pete La Roca.
Freddie Slack was the pianist with Jimmy Dorsey's orchestra during part of the 1930s before becoming well known for playing boogie-woogie with Will Bradley's band, most notably on the hit "Beat Me Daddy, Eight to the Bar." In 1941 Slack went out on his own, forming a big band that soon signed with the Capitol label. His hit recording of "Cow Cow Boogie" in 1942 with singer Ella Mae Morse made him famous even though none of his other records caught on at the same level. Slack's orchestra just lasted two years and, although he had a new band during 1945-1946, many of his recordings were made with small groups.
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Coming fresh on the heels of his groundbreaking work with Eric Dolphy, Bobby Hutcherson's debut album is a masterpiece of "new thing" avant-garde jazz, not really free but way beyond standard hard bop. Dialogue boasts an all-star lineup of hot young post-boppers – trumpeter Freddie Hubbard, woodwind player Sam Rivers, pianist Andrew Hill, bassist Richard Davis, and drummer Joe Chambers – and a set of imaginative compositions by either Hill or Chambers that frequently push the ensemble into uncharted territory.
One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz.
The first album released posthumously after jazz legend Freddie Hubbard's passing in 2008, the recordings that make up Without a Song: Live in Europe 1969 actually sat in the Blue Note archives for 40 years. Recorded while Hubbard was touring Europe with producer Sonny Lester's The Jazz Wave on Tour revue, the album features performances culled from three separate nights - two in England and one in Germany. While Hubbard had already released many of his most famous Blue Note solo albums by 1969, in truth the trumpeter had only started leading his own full-time touring band around 1966 after leaving Max Roach's ensemble…
Blue Note's So Blue, So Funky, Vol. 1 is a 12-track compilation that highlights the funkiest soul-jazz organists that recorded for the label, whether it was a leader or as a sideman. Although there's a handful of cuts from the early '60s, such as "Face to Face" by the terrific, underrated Baby Face Willette, the compilation leans toward the funky fusions of the late '60s, such as Big John Patton's "Fat Judy," Lou Donaldson's "Everything I Do Is Gon' Be Funky (From Now On)," Jack McDuff's "Butter for Yo' Popcorn" and Grant Green's "Ain't It Funky Now." The best thing about this comp is that even though it has familiar names, not all of the material is readily available on CD, which makes it of interest to casual groove fans and serious collectors alike.