10 Latin Jazz Perspectives On Freddie Hubbard

Trumpet player Freddie Hubbard died on Sunday, December 28, 2008 at the age of 70, leaving the jazz world with a legacy of important songs and performances. Influenced early in life by trumpet players Dizzy Gillespie, Clifford Brown, and Fats Navarro, he built a reputation in his hometown of Indianapolis playing with well-known musicians such as Wes and Monk Montgomery. By the time he moved to New York in 1958, he had developed a refined musical personality that led to work with Sonny Rollins, Slide Hampton, and Philly Joe Jones. He joined Art Blakey’s Jazz Messengers in the early 1960s, and his playing on albums such as Mosaic and Buhaina’s Delight turned heads collectively across the jazz world. Hubbard contrasted his work with Blakey by recording with a number of free jazz artists such as Ornette Coleman, John Coltrane, and Eric Dolphy. He recorded albums as a leader for the Blue Note label in the late 1960s and CTI in the early 1970s, capturing a number of classic performances. Hubbard drifted into a more commercial direction in the 1980s, turning away many of his loyal fans, only to surprise the jazz world with a series of explosive performances as a member of Herbie Hancock’s V.S.O.P. group. A lip injury in the 1990s slowed his performance career to a grind, yet Hubbard continued to record and perform sporadically until a heart attack in November of 2008.

Hubbard influenced generations of trumpet players, who studied his virtuosic technique and endless creativity, but he also left a stack of important songs that have become standards in the jazz tradition. From his early days with the Jazz Messengers, Hubbard contributed original material into the jazz cannon, and he continued adding new compositions until the late days of his career. Hubbard’s compositions pulled the best elements of his playing into one place – by playing a Hubbard composition, any jazz musician could visit his lyrical nature, his clever ability to twist a melody in unexpected directions, his in-depth harmonic knowledge, and his funky rhythmic sensibility. It was a total package that captured the imagination of many jazz musicians. His most popular albums from the CTI era were extremely popular as well, creating a preference for Hubbard compositions among the listening public. While Hubbard will always be remembered as a trumpet stylist, his compositions are firmly ingrained into the jazz tradition, and they exist as an important piece of his legacy.

Although Hubbard didn’t venture into the Latin realm extensively, the Latin Jazz world has long recognized the importance of his contributions and many Latin Jazz musicians have recorded his compositions. Pieces from all eras of Hubbard’s career have found their way into the Latin Jazz world, providing a distinctively different perspective upon Hubbard’s style. His hard bop flair and funky phrasing have lent themselves strongly towards an interpretation in an Afro-Cuban setting, and his modern sense of harmony has allowed for exciting explorations. The strength of the compositions fuel the arrangements and Hubbard’s influence as a player just emanates through the performances. So take a minute to track down these Latin Jazz recordings of Freddie Hubbard compositions; you’ll be glad that you did.

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1. Little Sunflower – Ritmo, Sonido, Y Estilo, Manny Oquendo Y Libre

More than any other Hubbard composition, “Little Sunflower” became a standard among Latin Jazz musicians, mostly due to the strength of this version. Andy Gonzalez kicks the piece in to high gear with the bass line that became a signature part of the song, moving into a richly harmonized version of the melody. Flautist Dave Valentin demonstrates the outstanding sense of lyrical phrasing that made him a legend with a slowly developed improvisation. Trumpet player Jerry Gonzalez takes a bit more aggressive approach, reflecting the approach that lit a fire underneath the Fort Apache Band. Pianist Joe Mannozzi takes full advantage of the lush nature of the classic chord changes, adding a rhythmic momentum that provides strong forward motion. In a track highlight moment, the band quiets as Steve Turre takes a quietly intense and engaging solo on conch shell. The band stays true to the modal beauty of Hubbard’s original recording, but they also jump headfirst into it with a descarga aesthetic; the results were legendary, cementing the song as a firm piece of the Latin Jazz tradition.

2. Hub-Tones – Boperation, Ray Vega

Hubbard’s longest lasting legacy remains upon generations of trumpeters that spent lifetimes learning his solos and soaking in his sound; trumpet player Ray Vega proves the power of that influence on a fiery Latin Jazz version of “Hub-Tones.” Pianist Igor Atalita and bassist Bernie Menoso establish a series of offset rhythmic punches over a son montuno groove that continues behind the quick pace of the melody. The band bursts into a full-fledged set of rhythm changes background behind Vega, who immediately races into an intense bebop charge that continues throughout his solo. Vega reflects Hubbard’s influence as he balances classic lines and forward-looking ideas with dexterity and style. The rhythm section offers guitarist Steve Khan a pedal tone as he starts his solo with immediate tension before the whole group jumps back into the standard chord changes and Khan demonstrates his bebop talents. Atalita and Menoso return to original vamp as conguero Wilson “Chembo” Corniel burns through his improvisation with musical insight into the song’s unique stylistic territory. Vega pays a major tribute to Hubbard’s influence with this burning rendition of one of his compositions, but he also shows that Hubbard will continue to live with us through countless trumpet players that have studied his performance style.

3. First Light – On Broadway, Tito Puente

Hubbard’s work for Creed Taylor’s CTI label in the early 1970s proved to be a successful period, both artistically and financially; his albums from that era spawned many jazz classics and Tito Puente calls upon the title track from Hubbard’s most popular CTI album, First Light. The group provides a dramatic entrance with saxophone player Mario Rivera and flugelhorn player Jerry Gonzalez blowing freely until keyboardist Jorge Dalto establishes a cha cha cha groove with a solid montuno. The musicians create an abstract feeling to the melody with repeated phrases, a loose interpretation, and a switch to 6/8 on the bridge. Rivera pushes the song into high gear with a ferocious solo on soprano sax, spinning long lines of rapid notes, extended trills, and screeching pitches. Gonzalez counters with an assertive yet lyrical nature, relying upon the power of his ideas and the consequential development to make a compelling statement. Dalto switches to piano for his improvisation, using the percussive nature of the sound to bring a rhythmic element to his solos, building tension through syncopation. Just as Hubbard had Taylor and arranger Don Sebesky in his corner when creating his CTI classic album, Puente’s outstanding arrangement gives this track life and inspires his musicians to deliver an engaging performance.

4. Sky Dive – Cambios, Poncho Sanchez

Hubbard spent much of the 1980s distancing much of the traditional jazz world as he produced several commercially tinged albums that didn’t reflect the depth of his previous work; fortunately percussionist Poncho Sanchez saw through much of that stigma by recording a Hubbard classic in 1991 and using Hubbard himself as a guest soloist. Tony Banda’s catchy bass line grounds the piece over a cha cha cha rhythm, while a smartly constructed arrangement by pianist David Torres transitions the piece into the Latin setting nicely. The unstoppable momentum of Sanchez’s group serves this Hubbard composition well as they establish a driving rhythm and frame the piece with tight breaks. Hubbard enters his improvisation with a series of melodic statements before displaying his legendary chops with inventive ideas, quick runs and blistering high notes. Torres follows with a short but colorful solo that leads back into the tightly arranged melody. As the group vamps over the final two chords, Hubbard returns and closes with track with more improvisatory thoughts. Hubbard didn’t spend much time during his career working in authentic Latin Jazz settings, so this Sanchez recording serves as an important document of the inherent possibilities.

5. Crisis – Señor Kroon, Steven Kroon

Hubbard first recorded this song on the 1961 Blue Note session Ready For Freddie, and it has become a standard recorded on numerous albums, including Steven Kroon’s album Señor Kroon. The rhythm section jumps into a driving bomba groove while saxophonist Tim Ries and flautist Mauricio Smith blow freely. Ries takes a straight interpretation on the melody while Smith improvises around him, while the rhythm section provides an addictive groove. Ries rides off the powerful groove, improvising with a percussive tone, screeching high pitches, and a focused intensity that helps the band build into a frenzy. Pianist Oscar Hernandez provides a striking contrast with an introspective beginning, but soon pushes the group with his classic sense of rhythmic tension and harmonic dissonance. Hernandez and bassist Ruben Rodriguez fall into percussive attacks as Kroon weaves a statement around the bomba groove, showing taste, technique, and style. Kroon and his group bring a new dimension to this classic with their bomba arrangement and energetic performance; an inventive and exciting take on a Hubbard standard.

6. Up Jumped Spring – Rumba Buhaina, Jerry Gonzalez & The Fort Apache Band

This song originated during Hubbard’s days as a member of Art Blakey’s Jazz Messengers; the song became a common jazz standard, associated with the Jazz Messengers, a fact that Jerry Gonzalez and The Fort Apache Band drew upon when they included it in their tribute to Blakey, Rumba Buhaina. The group enters with aggressive band hits that create a powerful introduction before they place the melody over a medium tempo 6/8 groove. Pianist Larry Willis spins long lines over the changes that shine with a hard bop flair, maintaining a serious intensity throughout his statement. Saxophonist Joe Ford continues the assertive tone and feel with a cutting tone on soprano saxophone that compliments his spontaneous lines that range from steady bop melodies to flights of freedom. Gonzalez wisely creates some contrast with a muted trumpet solo that steps away from Hubbard’s sound but maintains the influence of his nimble lines and pure melodic nature. The Fort Apache Band has always shown an influence of 1960s jazz, and Hubbard has obviously been part of that element; the group shows that they have done their homework with this creative and insightful arrangement.

7. Red Clay – Soft As Granite, Janine Santana

The title track for Hubbard’s legendary 1970 album became the perfect jam session tune for many jazz players, an idea that Colorado based conguero Janine Santana cued into nicely with her arrangement. The rhythm section layers into a medium tempo son montuno groove with the melody disrupting the groove with an explosive energy, followed by the song’s angular hits. Trumpet player Greg Gisbert plays a wild solo that ranges between rapid-fire melodic lines and strong sound effects that shoot the trumpet into its highest register. The band kicks into high gear behind guest saxophonist Richie Cole who immediately lights a fire with bebop infused lines and rhythmic phrases. Santana takes her turn improvising over the song, riding over the main montuno with classic licks and driving intensity. Santana’s group provides a fitting tribute to a song that has become a regular part of the jam session world in straight ahead jazz, fusion, and Latin Jazz circles.

8. Intrepid Fox – Island Eyes, Hilton Ruiz

Pianist Hilton Ruiz always excelled at capturing the essence of the most complex jazz standards, regardless of the stylistic setting, a task that he accomplishes admirably on this 1997 recording of the Hubbard classic. A series of urgent band hits lead into a furious swing section with Ruiz improvising on piano, only to transition into a jazz son montuno after another group of attacks. The wind players join Ruiz on the main melody, capturing all the energy and drama of the original recording with slight variations to fit into clave. Saxophone player John Stubblefield jumps into the song with an assertive improvisation that screams with forward motion, passion, and a bebop intensity. Trumpet player Jon Faddis enters into his statement with a relaxed journey through the changes, but quickly raises the bar with several quick runs and a trip through the instrument’s ultra high range. Ruiz grabs hold of the song with a vengeance and doesn’t let go; he lights a fire immediately with a steady stream of furious runs, a staggering rhythmic independence between hands, and a liberal use of dissonance. Guest timbalero Tito Puente follows Ruiz’s lead with a solo that plays off the excitement of the song, adds a polyrhythmic tension, and inserts a genuine Puente voice into the mix. Ruiz captures the fire and passion of Hubbard’s most urgent performances with this track and proves that the strength of Hubbard’s work provides the integrity to inspire any musical setting.

9. & 10. Straight Life/Mr. Clean – Infinity, Wayne Wallace

Hubbard will always be remembered for his influence as a hard bop trailblazer and his dips into the world of free jazz, but he also left his mark upon countless fusion musicians, a fact that trombonist Wayne Wallace addresses with his dips into two Hubbard compositions on his album Infinity. Drummer Paul van Wageningen lays down a seriously funky groove, soon accompanied on congas and timbales by percussionist Michael Spiro; by the time bassist David Belove and keyboardist Murray Low enter the mix, the groove hits high gear. Wallace nails the melody to “Straight Life” with a loose swing, letting the groove simmer between phrases. As Wallace moves into his improvisation, he straddles all of Hubbard’s influential roles, moving between bluesy funk lines, bop infused intensity, and wild freedom. Low contrasts Wallace with a quiet entrance into his Fender Rhodes solo, slowly building the dynamic with dissonant tension. Belove provides a transition into a slightly different groove before Wallace returns with the “Mr. Clean” melody, closing the track with a reference to another Hubbard classic. Wallace shows that Hubbard’s more accessible work also had depth, and can be revisited with positive musical results.