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Jazz - Released October 5, 2010 | CTI

Distinctions 4F de Télérama - The Qobuz Ideal Discography
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Jazz - Released January 1, 2013 | Blue Note Records

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Jazz - Released March 1, 1963 | Impulse!

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Jazz - Released January 1, 2013 | Blue Note (BLU)

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Jazz - Released January 1, 2013 | Blue Note (BLU)

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Jazz - Released August 2, 2005 | Rhino Atlantic

Distinctions Golden Oldies
This disc pairs separate Atlantic reissues from two of the finest hard bop brass players of all time, Nat Adderley and Freddie Hubbard. A Soul Experiment finds Hubbard grasping for 1969 commercial radio acceptance with shorter songs, and a stab at Jimmy Webb's "Wichita Lineman." A Soul Experiment isn't horrible, but in no way does it represent the artistry of Freddie Hubbard. Nat Adderley, on the other hand, achieved one of his strongest dates with his first post-Riverside, initial Atlantic 1964 release, Autobiography. Classic compositions "Work Song," "Little Boy With the Sad Eyes," "The Old Country," and "Jive Samba" are included with five other Adderley-penned tunes of equal hard bop appeal. © Al Campbell /TiVo
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Rock - Released August 23, 2004 | Rhino Atlantic

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Jazz - Released January 1, 1965 | Blue Note Records

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Jazz - Released January 1, 2013 | Blue Note Records

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Jazz - Released November 4, 2016 | Masterworks Jazz

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Jazz - Released January 1, 2002 | Blue Note Records

Freddie Hubbard's first recording as a leader, Open Sesame features the 22-year-old trumpeter in a quintet with tenor saxophonist Tina Brooks, the up-and-coming pianist McCoy Tyner, bassist Sam Jones and drummer Clifford Jarvis. This set shows that even at this early stage, Hubbard had the potential to be one of the greats. On the ballad "But Beautiful" he shows maturity; other highlights include "Open Sesame," a driving "All or Nothing at All" and "One Mint Julep." It's an impressive start to what would be a very interesting career. © Scott Yanow /TiVo
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Jazz - Released January 1, 2006 | Blue Note Records

This two-LP set, which was released in 1979 as part of United Artists' Blue Note reissue series, brought back trumpeter Freddie Hubbard's early album Hub Cap, a sextet session with tenor-saxophonist Jimmy Heath, trombonist Julian Priester, and pianist Cedar Walton. Although that session (comprised of four Hubbard compositions, one of Walton's songs, and Randy Weston's "Cry Me Not") is excellent, it is the full album of previously unreleased material from an all-star quintet that is of greatest interest. Hubbard teams up with fellow Jazz Messengers Wayne Shorter (on tenor), Walton, bassist Reggie Workman, and (in Blakey's spot) drummer Philly Joe Jones for some advanced hard bop. Highpoints include the fiery "Philly Mignon" and a strong version of "Body and Soul." © Scott Yanow /TiVo
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Jazz - Released January 1, 1999 | Blue Note Records

Trumpeter Freddie Hubbard teams up on record with James Spaulding (who doubles on alto and flute) for the first time on this excellent set, with the assistance of pianist Herbie Hancock, bassist Reggie Workman, and drummer Clifford Jarvis. The quintet performs four of the trumpeter's originals (including "Lament for Booker" and the title cut) plus an advanced version of the standard "You're My Everything." John Coltrane's modal music was starting to influence Hubbard's conception and his own playing was pushing the modern mainstream ahead without really entering the avant-garde. © Scott Yanow /TiVo
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Jazz - Released July 15, 1964 | Impulse!

At age 25, Freddie Hubbard made inroads into modern jazz most trumpeters could not imagine, much less come through with. As a soloist, one of Hubbard's crowning achievements in his early period was this recording on which he teamed with Wayne Shorter, marginally as a performer but prominent in the role of arranger/conductor for his first time ever. Utilizing a septet, 16-piece big band, and orchestra plus stings to play concise, tight tunes, Shorter provides the backdrop to employ Hubbard's bold toned trumpet and all of its devices in a full display of his powerful melodic talents. Yeoman Reggie Workman plays bass on all selections, with drummer Louis Hayes in the seven-piece combo, and great work from Philly Joe Jones in the larger bands. Interestingly enough, the three tracks with the smaller ensemble are the most interesting, due to the presence of Eric Dolphy, Curtis Fuller, Cedar Walton, and Shorter on the front line. "Clarence's Place" is a post-bop jewel with spiky brass accents and Dolphy's ribald and outre alto sax solo contrasting Shorter's relatively reserved tenor, "Dedicated to You" is a wisp of a tune, while "Body & Soul," an atypical choice for the opening selection, is a straight read of the classic ballad with a chart that sounds larger than the small horn section, and a wavering flute via Dolphy. The big band does an unusual soul-jazz treatment of the Brazilian number "Manha de Carnaval" flavored by Robert Northern's French horn, while "Aries" is a hard bop show stopper with two-note accents buoying Hubbard's great lyrical lines, and goes further into hard bop with "Thermo" as the horns demand attention with the trumpeter as an afterthought. The string section, ten pieces strong, joins the big band on the film noir type Duke Ellington piece "Chocolate Shake," the stock "I Got It Bad," and "Skylark," with its soft clarion intro bubbling underneath with the violins, violas, and cellos. The manner in which this recording is programmed is thoughtful in that it lends to the diversity of the project, but is seamless from track to track. Dan Morgenstern's hefty liner notes also explain the concept behind this ambitious project, one which did not compare to any of Hubbard's other recordings in his career. Therefore it stands alone as one of the most unique productions in his substantive discography, and a quite credible initial go-round for Shorter as an orchestrator. © Michael G. Nastos /TiVo
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Jazz - Released January 1, 1997 | Blue Note Records

For his second recording as a leader, trumpeter Freddie Hubbard (22 years old at the time) performs two compositions apiece by Kenny Dorham and Hank Mobley, the obscure "I Wished I Knew," and his own "Blues for Brenda." Hubbard (featured in a quintet with tenor saxophonist Mobley, pianist McCoy Tyner, bassist Paul Chambers, and drummer Philly Joe Jones) takes quite a few outstanding solos, playing lyrically on the ballads and building his own sound out of the Clifford Brown/Lee Morgan tradition. © Scott Yanow /TiVo
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Jazz - Released April 5, 2005 | Artistry Music

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Jazz - Released January 1, 1964 | Blue Note Records

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Jazz - Released January 1, 2004 | Blue Note Records

Trumpeter Freddie Hubbard really came into his own during this Blue Note session. He is matched with quite an all-star group (tenor saxophonist Wayne Shorter, pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones in addition to Bernard McKinney on euphonium), introduces two of his finest compositions ("Birdlike" and "Crisis"), and is quite lyrical on his ballad feature, "Weaver of Dreams." Hubbard's sidemen all play up to par and this memorable session is highly recommended; it's one of the trumpeter's most rewarding Blue Note albums. © Scott Yanow /TiVo
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Jazz - Released January 1, 1985 | Blue Note Records

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Jazz - Released May 13, 2016 | MPS

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