FREDDIE HUBBARD

Real name: Frederick Dewayne Hubbard
Born: April 7, 1938 in Indianapolis, IN
Genres: Straight Ahead Jazz
Styles: Hard Bop, Post-Bop, Fusion, Jazz-Funk
Instruments: Flugelhorn, Trumpet

BIOGRAPHY

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. However a string of blatantly commercial albums later in the decade damaged his reputation and, just when Hubbard in the early '90s (with the deaths of Dizzy Gillespie and Miles Davis) seemed perfectly suited for the role of veteran master, his chops started causing him serious troubles.

Born and raised in Indianapolis, Hubbard played early on with Wes and Monk Montgomery. He moved to New York in 1958, roomed with Eric Dolphy (with whom he recorded in 1960) and was in the groups of Philly Joe Jones (1958-59), Sonny Rollins, Slide Hampton and J.J. Johnson before touring Europe with Quincy Jones (1960-61). He recorded with John Coltrane, participated in Ornette Coleman's Free Jazz (1960), was on Oliver Nelson's classic Blues and the Abstract Truth album (highlighted by "Stolen Moments") and started recording as a leader for Blue Note that same year. Hubbard gained fame playing with Art Blakey's Jazz Messengers (1961-64) next to Wayne Shorter and Curtis Fuller. He recorded Ascension with Coltrane (1965), Out to Lunch (1964) with Eric Dolphy and Maiden Voyage with Herbie Hancock and, after a period with Max Roach (1965-66), he led his own quintet which at the time usually featured altoist James Spaulding. A blazing trumpeter with a beautiful tone on flugelhorn, Hubbard fared well in freer settings but was always essentially a hard bop stylist.

In 1970 Freddie Hubbard recorded two of his finest albums (Red Clay and Straight Life) for CTI. The follow-up, First Light (1971), was actually his most popular date, featuring Don Sebesky arrangements. But after the glory of the CTI years (during which producer Creed Taylor did an expert job of balancing the artistic with the accessible), Hubbard made the mistake of signing with Columbia and recording one dud after another; Windjammer (1976) and Splash (a slightly later effort for Fantasy) are lowpoints. However in 1977 he toured with Herbie Hancock's acoustic V.S.O.P. Quintet and in the 1980s on recordings for Pablo, Blue Note and Atlantic he showed that he could reach his former heights. … www.allmusic.com




Selected Discography As Leader

Freddie Hubbard - 'All Blues' - 1995, Ars Nova, Jazz World
Freddie Hubbard - 'First Light' - 1989, CTI
Freddie Hubbard - 'Hub-Tones' - 1962, Blue Note
Freddie Hubbard - 'New Colors' - 2001, Hip Bop
Freddie Hubbard - 'Outpost' - 1981, Enja
Freddie Hubbard - 'Ready For Freddie' - 2004, Blue Note, RVG
Freddie Hubbard - 'Red Clay' - 1970, CBS Rec.
Freddie Hubbard - 'Sweet Return' - 1983, Atlantic

News Articles

A Freddie Hubbard Tribute with David Baker
Freddie Hubbard (1938-2008)
Jazz Trumpeter Freddie Hubbard Dies
Freddie Hubbard, Jazz Trumpeter, Dies at 70
Freddie Hubbard is Gone
Jazz Trumpeter Freddie Hubbard Dies
Jazz Great Freddie Hubbard Dead at 70

Selected Web Links

www.allaboutjazz.com/php/musician.php?id=7801
(Biography & articles on 'All About Jazz')

www.jazznetwork.com/hubbard.html
(Biography, news, live, links)

Perhaps you've heard of them, perhaps not.

I'm talking about the MAVRIC Independent Music Awards. It's the BAM(Bay Area Music) Awards of Ventura County. It's only the second annual show, and already it's grown from a small 400 seat auditorum, the Scherr Forum, at the Thousand Oaks Civic Arts Plaza to the 1,800 seat Kavli Theater in the same location.

The R&B Bombers, on the strength of their CD re-issue last July, have been nominated for three catagories:

Song of the Year: Blues "Since I Found You"

Song of the Year: R&B "Gotta Get Next to You"

Instrumental Performance of the Year "Ken's Boogie"

You can vote online for these nominations or any others here:

http://www.mavric-awards.com/02_vote.html

More great news for my friends Andrew Chukerman, Karole Foreman, and Chris Bensinger!

http://www.sandiego.com/index.php?option=com_sdca&target=ceef2112-c1b0-4a55-b45d-11821b083472

http://www3.signonsandiego.com/stories/2008/dec/04/mz1w04hebert95418-peas-destiny-fabled-future/?zIndex=19307

Hello, Merry Christmas & Happy Hanukkah ---

I'm available as a SOLOIST or SIDEMAN to SUB for you (or a friend), if it
becomes necessary (should you get a better call that pays more money, you
catch a cold, etc):

Monday, 12/15 (all day & night)
Tuesday, 12/16 (night)
Wednesday, 12/17 (all day & night)
Thursday, 12/18 (all day & night)
Friday, 12/19 (all day & night)
Saturday, 12/20 (all day & night)
Monday, 12/22 (all day & night)
Tuesday, 12/23 all day & night)
Friday, 12/26 (all day & night)
Saturday, 12/27 (all day & night)
Sunday, 12, 28 (all day & night)

Likewise, let me know your scedule (I'll keep it handy --- should I get a
customer that that I cannot handle myself).

All the best to you and your families!

--- Ernie Hernandez (guitar & lead vocals)
Hundreds of songs (pop, rock, soul, jazz, country, Christmas)
(562)699-3620 (office line)
(562)972-2395 (cell)

'Pea's' destiny: A fabled future
The Rep's world premiere gets it right in its Afro-centric retelling of a Hans Christian Anderson tale
By James Hebert 9:54 a.m. December 4, 2008
Musicals have taken so many existing stories and turned them into theatrical hash of late that any new adaptation risks giving the already bruised form a fresh shiner.
But not this time; not this take. Black eye? Please. San Diego Rep's "The Princess and the Black-Eyed Pea" delivers a punch, all right, but it's aimed straight at audiences of this vibrant world-premiere musical. And it's a knockout.
The show, a comic riff on the Hans Christian Andersen fable about a princess with unusual bedding needs, has its own small bumps to pluck out like that offending pea beneath the mattresses. That's no surprise for a new musical – maybe even one that's been ra ttling around (in various forms) for as long as this one.
In its key aspects, though, Kirsten Childs' inventive and sensibly plotted book, Karole Foreman and Andrew Chukerman's snappy lyrics (with an assist from Childs) and, most of all, Chukerman's tuneful and nicely varied music, the show is compelling, confident and ready for prime time.
It was Foreman's inspiration a dozen years ago that launched the concept of20an Afro-centric "Princess" adaptation, taking place in the fictional kingdoms of Kheba and Torel. The Obie-winning Childs took over from her as book writer just a few months ago (Foreman's longtime relationship with the Rep became an unfortunate casualty of that difficult switch), and her story casts Prince Gallant of Torel as an amusingly geeked-out science fanatic opposite the independent and headstrong Princess Quelie of Kheba.
The core of the story is this couple's love-at-first-sight bond, threatened by Gallant's demanding mother, Queen Zauba, and Quelie's scheming cousin, Hena. As directed by Stafford Arima (best known for his award-winning work on "Altar Boyz"), the tale unfolds via a troupe of roving tribal storytellers, a conceit realized appealingly through designer Beowulf Boritt's minimalist but versatile collection of carts and crates, fabrics and ladders.
Rep artistic director Sam Woodhouse isn't taking any chances with the material here: The all-black cast is stacked with out-of-town talent (though some locals make their mark, too).
Lillias White, a Tony-winner and Broadway favorite, is a funny and indelible Zauba, whose haughty, condescending air masks insecurity and a worry for her son Gallant. Her turn in Act 2 on "My Only Son" is a wonder: rich, committed and moving.
As Gallant, Josh Tower (another Broadway vet) has a great comic feel for his character, the nerd genius who cured his own asthma. The strong-voiced Sabrina Sloan (an "American Idol" fi nalist) is convincingly tough-minded as Quelie, whose dream is to be a champion of challenge dance, but who now must submit to the dreaded Princess Test if she wants to stay with Gallant.
The Rep version plays not just with the fable and the significance of the black-eyed pea (a staple of Southern soul food), but with the whole wacky universe of fairy tales. A set of "identical triplets" (Angela Teek, Sylvia MacCalla and standout Angela Wildflower Polk, who look nothing alike) lament the woes of a princess on "Ain't Gonna Wait Around No More," a rousing tune with a revival-meeting feel.
There are also strong turns by Ken Prymus and P.L. Brown as the two kings, local single-named gospel star TON3X as Gallant's suave pal Rolin, and the terrific Jennifer Leigh Warren as the exasperated Hena, among others.
Chukerman turns in one good song after another, many flavored with gospel and R&B. "Get It," the cleverly layered "I Can Feel It" and the girl-group-esque "A Black-Eyed Pea" all shine. "Love Is What's Real," though, feels like generic ballad material (despite Tower's soulful vocal), and "I've Finally Arrived" has an awkward melodic line that Sloan seemed to have trouble following. The six-piece band, high above the stage, plays with precision under Jim Vukovich's direction.
Jennifer Brawn Gittings' costumes heighten the fantasy feel, with shimmering gowns and glittery high-tops complementing traditional African patterns.
The buzz on this one: It's a pleasure with a capital "Pea." AND>>>>>>>>>

THE PRINCESS AND THE BLACK-EYED PEA
By David Gregson
Posted on Wed, Dec 3rd, 2008
Last updated Wed, Dec 3rd, 2008
If it's not a tradition in your family already, you might want to try some Hoppin' John this New Year's Day. You'll need a healthy chunk of ham hock, a mess of black-eyed peas, some garlic, onion, celery and a green pepper – and as much rusty red cayenne as you can endure. Serve with rice and cornbread and you'll have good luck all year. The dish has obvious African origins and is still popular throughout the South and with anyone (like me) who has had a granny from North Carolina.
And if you're looking for some really smashing family entertainment this holiday season – thank God you don't have to do the same ol' same ol' Nutcrackers and Dickens Christmas Carols. You can take in "The Princess and the Black-Eyed Pea," the super-hyper-energized Africanized fairy-tale musical now playing in the terrific intimate surroundings of the San Diego Repertory Theatre. You'll even pick up a hilariously simple Hoppin' John cooking demonstration as a bonus.
This show, in its world premiere, has so much talent on stage that it doesn't stop. You've got American Idol winner Sabrina Sloan, fab ulous as Princess Quelie of the Kingdom of Kheba trying to snag the handsomely egg-headed (literally and figuratively) Prince Gallant of the Kingdom of Torel, none other than Josh Tower, Broadway's Simba for five long seasons of Disney's "The Lion King." You've also got the platinum-gold gospel rock star, Tonex, as Rolin (a romantic dude who regrettably doesn't really get to strut his stuff until the last moments of the show), and the pricelessly gifted Jennifer Leigh Warren as Princess Hena, Rolin's gal and Quelie's sibling bête noir. They sing, they dance – they're amazing.

Josh Tower & Sabrina Sloan
Photo Copyright © 2008 by Ken Jacques

And they are part of a large cast that truly has no weak performers. Ther e's the renowned star Lillias White, both hilarious and moving as Queen Zauba (ultimately thrilling the house in "My Only Son"), a woman looking somewhat fraudulently to perpetuate the royal line by marrying her boy to a princess of the bluest of blue, blue blood. The test for this, of course, is getting bruised by a pea buried under a zillion mattresses. And there's P.L. Brown, impressive and imposing as King Nat, and Ken Pyrmus ditto as King Kemo. The three "wicked" sisters (in some meaning of the word) are also terrific: Angela Teek (LaTisha), (Sylvia MacCalla (LaBelle) and (Angela Wildflower Polk) LaShaun. It's tricky to sort out the program to spot one's favorites.
All these performers and more are part of a highly polished show that has been gestating now for about 11 years with Broadway in its sights. "Conceived by" co-lyricist Karole Foreman, and with a book by Kirsten Childs, and lyrics and music by Andrew Chokeman, this clever transmogrification of a Hans Christian Andersen fairy tale has already garnered the 2008 Edgerton Foundation New American Play Award and has also been given the Richard Rodgers Award for Most promising New Musical.
One wonders what Richard Rodgers would have actually thought of this score and its lyrics. Although he did write a "Cinderella" for American television, his musicals normally displayed a degree of social awareness and a largely adult outlook on life. American musical theater grew immensely after the semina l Rodgers & Hart and Rodgers & Hammerstein musicals – and by the time of Leonard Bernstein's "West Side Story," there was a growing depth to the subject matter. Audiences still got a gratifying paring of romantic young lovers, but "West Side Story" took on actual social issues – namely the problem of juvenile delinquency and gang warfare in New York City. (And one of the romantic lovers, Tony, actually dies.) With the advent of Steven Sondheim's great conceptions, mature subject matter became the rule, not the exception in a musical show. Even Sondheim's fairy-tale based "Into the Woods" was a thea trical working out of Jungian ideas from Bruno Bettelheim's famous work, "The Uses of Enchantment."
With the transformation of Times Square into a Disney playground, the Broadway musical, already under pressure from economic problems and a thinning of creative talent, leans more and more into simplistic realms. Just what is the target audience for "The Princess and the Black-Eyed Pea"? It's a truly wholesome show without any cuss words whatsoever and with all its abundant sexual content suppressed to the point that only adults could possibly spot it. Even the expected verbal innuendos are muted. This makes for suitable family entertainment, but because of the cliché ridden "boy meets but almost doesn't get girl" plot, an adult really has to take pleasure in the singers, actors, the music and the production values. Fortunately the latter do not disa ppoint in this Rep premiere.
I would, however, recommend ear plugs. The singers are all individually miked (as is the universal practice these days, if not in Richard Rodgers' time), and the band of keyboards, guitar, bass and percussion, is perched high on the Lyceum's stage, just behind the action. Of course, already deafened by large arena rock performances, younger folks may not even notice.
The show has many memorable throw-away lines – my favorite coming from the scientifically inclined Prince Gallant -- something about wanting to explain the principles of torque as they apply to a pirouette. Indeed, th is is a show with and about dancing: we are given loads of wonderfully kinetic choreography created by Todd Underwood, but he may have missed a bet by not making the story's highly anticipated "challenge dances" into a bigger part of the production. The marvelous sets, largely movable units painted in African designs, are by Beowulf Boritt, while the imaginative costumes are by Jennifer Brawn Gittings. The sound designer is Tom Jones, and the excellent and all-important lighting design (often overlooked or not even thought of by most theatergoers) is by Jennifer Setlow.
When and if this hits Broadway – and it seems ready to go right now – a small venue would help. The intimacy of the show is one of its charms.

The following are compiled from my email INBOX:

FIELD 2 - DANCE
Category 12, Dance Recording
#055 - Heaven, JES
#056 - Imagination, JES
#111 - High Glow, Taxigirl
Links:
Heaven & Imagination
www.myspace.com/planetjes
Hi Glow
http://www.myspace.com/taxigirlmusic
www.planetjes.com
http://www.myspace.com/planetjes
http://www.youtube.com/planetjes

Like what you hear? Please vote in the Grammys:
Category 49 - Best Large Jazz Ensemble (#004)
Wayne Bergeron, Music & Mistletoe

Field 1 Pop:
Category 9, Best Pop Instrumental Performance
#047 I'll Tell You Tomorrow, Valarie King

Field 10 Jazz, Category 48 - Best Jazz Instrumental Album, Individual
018. LETTER TO HERBIE, John Beasley
________________________________________
Field 23 - Composing/Arranging, Category 85 - Best Instrumental Composition
095. HERE AND NOW, John Beasley, composer (John Beasley)
________________________________________
Field 23 - Composing/Arranging, Category 86 - Best Instrumental Arrangement
019. BEDTIME VOYAGE, John Beasley, arranger (John Beasley)
________________________________________
Field 10 Jazz, Category 47 - Best Jazz Instrumental Solo
.011 3 FINGER SNAP, John Beasley, soloist
127. EYE OF THE HURRICANE, Roy Hargrove, soloist (John Beasley)
193. HERE AND NOW, Christian McBride, soloist (John Beasley)

Field 30 Classical:
Category 98, Classical Album
#290 Walden, Chris: Symphony No.1, The Four Elements
Category 99, Orchestral Performance
#109 Walden, Chris: Symphony No.1, The Four Elements, Chris Walden, conductor (Hollywood Studio Symphony Orchestra)
Category 107, Classical Contemporary Composition
#135 Walden, Chris: Symphony No.1, The Four Elements

Category 46, Best Jazz Vocal Album
Denise Donatelli "What Lies Within"
Vote #021

"Live At Cafe Metropol" by the KIM RICHMOND ENSEMBLE, issued on Origin Records a year ago, last October. It is being considered for "Best Jazz Instrumental Album of the Year."

Hello everyone ... pardon the mass emailing as well as the presumption, but ... since it's Grammy time, and I've got 2 albums in several categories for this first round of balloting... 'Tis the Season... if you've also got albums in the same categories, I'll wish you the best ~ and hope that you might still want to give some of the following a listen just for listening's sake.

Here's the link where the albums can be heard:

http://www.petererskine.com/grammys2008/


a trio recording with Alan Pasqua and the late great Dave Carpenter ...

Field 10 - Jazz
Category 48 - Best Jazz Instrumental Album, Individual or Group
# 189. "STANDARDS" (Alan Pasqua, Dave Carpenter & Peter Erskine Trio)

Field 27 - Production, Non-Classical
Category 92 - Best Engineered Album, Non-Classical
# 305. STANDARDS (Kent M Fuqua, engineer)

... and the most recent big band album I made with trumpeter Tim Hagans and the Norrbotten Big Band (in Sweden) ~ it's a fun listen!

Field 10 - Jazz
Category 49 - Best large Jazz Ensemble Album
#014. WORTH THE WAIT (Peter Erskine, Tim Haganas & The Norrbotten Big Band)

Field 23 - Composing/Arranging
Category 86 - Best Instrumental Arrangement
# 183. "Worth The Wait" (Tim Hagans, arranger)

Field 10 - Jazz
Category 47 - Best Jazz Instrumental Solo
# 086. "Scotland, Africa" (Peter Erskine, drums)

Field 23 - Composing/Arranging
Category 85 - Best Instrumental Composition
#214. "Scotland, Africa" (Peter Erskine, composer)

And ... enjoy!

THANK YOU FOR LISTENING!

All best,
Peter Erskine

Sweet Baby J'ai
"Introducing J'ai Michel" for Grammy Nomination in Category 26-
Best Traditional R&B Vocal Performance

General Field:
Category 3 (Song of the year):
Entry # 377: "Lorelei" by Bebe Herring and Scott Whitfield.
Entry # 479: "Pardon Me While I Fall In Love" by Ginger Berglund & Scott Whitfield.

Field 10 (Jazz):
Category 46 (Best Jazz Vocal Album):
Entry # 030: "Dreamsville" (Ginger & Scott).

Category 47 (Best Jazz Instrumental Solo):
Entry # 163: "Dreamsville" (Jennifer Leitham, soloist).
Entry # 340: "On A Slow Boat To China" (Scott Whitfield, soloist).

Field 23 (Composition and Arranging):
Category 87 (Best Instrumental Arrangement Accompanying Vocalists):
Entry # 056: "Dreamsville" (Jennifer Leitham, arranger).
Entry # 128: "Listen, Little Girl" (Bob Florence, arranger).
Entry # 153: "On A Slow Boat To China" (Scott Whitfield, arranger).

Category 2 - Album Of The Year
Page 8 0f 12

#478. At Last- Peggie Perkins



Category 4- Best New Artist

Page 5 of 7

For a new artist who releases, during the Eligibility Year, the first recording which establishes the public identity of that artist.

#284. PEGGIE PERKINS

Category 92

Best Engineered Album, Non-Classical

An Engineer's Award.

(Artists names appear in parentheses.)

#016. AT LAST

Shantih Haast, engineer (Peggie Perkins)



Field 6 - R&B

Category 23 - Best Female R&B Vocal Performance

Page 4 0f 12

#053. WHAT YOU WON'T DO FOR LOVE

Peggie Perkins

Category 1 - Record Of The Year

Page 9 of 13

#515. AT LAST

Fumosonic CD "Love Is Everything" is on the Entry list for a Grammy Nomination!
Field 1 - Pop, Category #11, Best Pop Vocal Album of the Year, #076.
Your vote can bring them out of obscurity!

Dear Music Colleagues --

Before I get too busy, and the year ends before I know it --- I want to
THANK those of you (leaders and sidemen), in advance, for recommending me to
others, and also for hiring me as a sideman. I was happy to get the call
and to help out.

I also want to ESPECIALLY thank those who helped me, as a volunteer with
some of the fund-raising events that I participated in, this year. We
raised a lot of money for charity.

But, the economy being what it is --- I think that we have a personal
responsibility to be smart businessmen, as well as good musicians. So, with
your permission: I'd like to offer some tips for getting more new work:

1. Keep your eyes and ears open for any prospective customers. For
example, you're in line, at the supermarket, and you overhear someone
casually mention that a family wedding is in the early planning stages ---
that's when you should pass you business card to them, and offer to help
them find a band! Don't just let that business lead slip away from you!
Turn that business "lead" info into a gig that puts money in your pocket.
2. Keep track of ANY and ALL customer information (even if you're NOT
inclined to book gigs, yourself). You may need that info someday! And
maintain a current database of people you know, who could possibly give you
work.
3. That low-paying, $50.00 gig you relunctantly accepted could possibly
turn into a windfall gig later on! Don't let your foolish pride ruin your
chances for getting good work. This point is true --- I know, because it has
happened to me.
4. Hire or recommend a fellow LEADER for a sideman gig --- especially if
they have ever given you work. Help keep them afloat, so that they can
continue to give YOU work.
5. Don't "nickel-and-dime" your customers for gas, parking, lodging,
cartage, etc. They won't like it. Instead, try to factor-in all those
costs, ahead of time, into one attractive price (before you quote anything).

Hang in there. The road ahead is not going to be easy. Nonetheless, you
can still stay afloat if you're using your business head, as well as your
natural talent.

Have a blessed, joyous Thanksgiving, Christmas, Hanukkah and New Year!