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▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Freddie Hubbard ▐▓▀▀
▓ ▐█████▓█ Album........: Ready for Freddie ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Blue Note ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 53:51 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: Apr-02-2004 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: Mar-30-2004 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: JusT TeaM ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.95 prebeta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.90.3 Modified ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 79,9 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: VBR/44,1Hz/Joint-Stereo ░ ▒
█▀ ░▓▓▓▓░ ▀▓ ░ ░ ░
▀░ ▓▄▄▓▓▓▓▄▄█▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█▓█▄▄▄
░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. Arietis 06:42 ▓▌
▓████▓▌ 02. Weaver of dreams 06:36 ▓▌
▓████▓▌ 03. Marie Antoinette 06:39 ▓▌
▓████▓▌ 04. Birdlike 10:15 ▓▌
▓████▓▌ 05. Crisis 11:34 ▓▌
▓████▓▌ 06. Arietis 05:51 ▓▌
▓████▓▌ 07. Marie Antoinette 06:14 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Reissued and Remastered in 2004 ▓▌
▓████▓▌ Originally Released in 1962 ▓▌
▓████▓▌ ▓▌
▓████▓▌ 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 (1958-1959), Sonny Rollins, Slide ▓▌
▓████▓▌ Hampton, and J.J. Johnson, before touring Europe ▓▌
▓████▓▌ with Quincy Jones (1960-1961). 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 ▓▌
▓████▓▌ (1961-1964) 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 (1965-1966), he led his own quintet, ▓▌
▓████▓▌ which at the time usually featured altoist James ▓▌
▓████▓▌ Spaulding. A blazing trumpeter with a beautiful ▓▌
▓████▓▌ tone on flⁿgelhorn, 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 low points. 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 (even if much of the jazz ▓▌
▓████▓▌ world had given up on him). But by the late '80s, ▓▌
▓████▓▌ Hubbard's "personal problems" and increasing ▓▌
▓████▓▌ unreliability (not showing up for gigs) started to ▓▌
▓████▓▌ really hurt him, and a few years later his ▓▌
▓████▓▌ once-mighty technique started to seriously falter. ▓▌
▓████▓▌ Freddie Hubbard's fans can still certainly enjoy ▓▌
▓████▓▌ his many recordings for Blue Note, Impulse, ▓▌
▓████▓▌ Atlantic, CTI, Pablo, and his first Music Masters ▓▌
▓████▓▌ sets. ▓▌
▓████▓▌ ▓▌
▓████▓▌ *************************************************** ▓▌
▓████▓▌ ▓▌
▓████▓▌ Of a long line of classic sessions, Ready for ▓▌
▓████▓▌ Freddie is the classic Freddie Hubbard recording of ▓▌
▓████▓▌ his early years. Recorded in 1962 by famed engineer ▓▌
▓████▓▌ Rudy Van Gelder, this 24-bit re-master was given ▓▌
▓████▓▌ the Van Gelder touch again in 2003 to update it to ▓▌
▓████▓▌ the new technology. The result is one of the ▓▌
▓████▓▌ greatest of jazz records now truly sounding that ▓▌
▓████▓▌ way. Joined on the date by Wayne Shorter, Bernard ▓▌
▓████▓▌ McKinney, McCoy Tyner, Art Davis and Elvin Jones, ▓▌
▓████▓▌ it is as moving, as exciting today as when the 24 ▓▌
▓████▓▌ year-old first recorded these five extraordinary ▓▌
▓████▓▌ pieces. (Alternates of ôArietisö and ôMarie ▓▌
▓████▓▌ Antoinetteö are added to this new package). ▓▌
▓████▓▌ The Hubbard original öArietisö opens the recording ▓▌
▓████▓▌ with authority. Over a solid foundation maintained ▓▌
▓████▓▌ by the busy Davis and Jones, Hubbard takes the ▓▌
▓████▓▌ first solo, a stream that is breathtaking in its ▓▌
▓████▓▌ execution, though even moreso for the process of ▓▌
▓████▓▌ thought inherent in that construction. Though he ▓▌
▓████▓▌ remained a well regarded giant of jazz for decades ▓▌
▓████▓▌ beyond this, his quick witted conceptualization and ▓▌
▓████▓▌ equally dazzling technique makes his playing here ▓▌
▓████▓▌ among the most brilliant I have heard in the 25 ▓▌
▓████▓▌ years I have been writing about this music. ▓▌
▓████▓▌ ShorterÆs playing is up to the demands of the ▓▌
▓████▓▌ piece, and McKinneyÆs euphonium solo is absolutely ▓▌
▓████▓▌ superb. The following version of ôWeaver of Dreamsö ▓▌
▓████▓▌ is the standout piece on the date. A melodic ▓▌
▓████▓▌ opening section by Hubbard and Shorter leads into ▓▌
▓████▓▌ HubbardÆs crisp, emotive trumpet solo. Throughout, ▓▌
▓████▓▌ Elvin Jones plays brushes, sometimes heavy-handed, ▓▌
▓████▓▌ lending a distant sort of backbeat to the tune. ▓▌
▓████▓▌ This continues through the brief Tyner solo and ▓▌
▓████▓▌ HubbardÆs extended run. The layering effect is ▓▌
▓████▓▌ fascinating. ▓▌
▓████▓▌ ▓▌
▓████▓▌ The uptempo ôMarie Antoinetteö is highlighted by a ▓▌
▓████▓▌ superb Wayne Shorter solo. It is interesting to ▓▌
▓████▓▌ read the original liner notes make reference to ▓▌
▓████▓▌ these jazz giants as being among the cream of the ▓▌
▓████▓▌ youngsters coming up at the time. ShorterÆs ▓▌
▓████▓▌ presence was commanding even then, as was that of ▓▌
▓████▓▌ young Art Davis, who delivers wonderfully executed ▓▌
▓████▓▌ supportive lines. ôBirdlikeö is an appropriately ▓▌
▓████▓▌ titled piece that evokes Charlie Parker, both in ▓▌
▓████▓▌ the phraseology and in the setting- up of unison ▓▌
▓████▓▌ trumpet/sax lines that break into extended solos, ▓▌
▓████▓▌ ala Bird and Diz or Bird and Miles. The interplay ▓▌
▓████▓▌ between Shorter and Hubbard is frequently more out ▓▌
▓████▓▌ of the Clifford Brown/Lee Morgan school. The two ▓▌
▓████▓▌ were working with Blakey at the time of this ▓▌
▓████▓▌ recording, and were clearly tuned in to each other. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ôCrisisö has an interesting motif. 16 bars with the ▓▌
▓████▓▌ first 12 played quietly, followed by four at a ▓▌
▓████▓▌ frenzied pace. This was to approximate the feeling ▓▌
▓████▓▌ of the fear of ôthe bombö that permeated much of ▓▌
▓████▓▌ late 1950s and early 1960s public consciousness. ▓▌
▓████▓▌ The effect is chilling and wholly captivating. ▓▌
▓████▓▌ ▓▌
▓████▓▌ As is the case with all of the classic Blue Note ▓▌
▓████▓▌ reissues, the original liner notes (in this case ▓▌
▓████▓▌ from the insightful Nat Hentoff) and covers with ▓▌
▓████▓▌ Francis Wolf photos are reproduced. Bob Blumethal ▓▌
▓████▓▌ offers some thoughts on the disc from the ▓▌
▓████▓▌ perspective of 40 years distance in a brief updated ▓▌
▓████▓▌ liner note. A classic then, and still the most ▓▌
▓████▓▌ impressive from the outstanding Freddie Hubbard ▓▌
▓████▓▌ catalog. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
▀▓ indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▄ ▓▌
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▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
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