Freddie Hubbard On Fire, Live from the Blue Morocc

No, this previously unreleased 1967 live session wasn't discovered in a Hexham charity shop but was unearthed by Zev Feldman whose track record is second to non when it comes  to finding those hidden gems.

Like the recent Kenny Dorham album Blue Bossa, also recorded at the Blue Morocco in 1967, On Fire also features a hard-blowing post bop quintet led by one of the greatest ever modern jazz trumpet players. The title is apt as all five are on fire with Hubbard setting his stall out early on. At this point I don't think even Dizzy could have topped him.

On the wall of my study I have a poster of  that memorable weekend 1n 1978 when Hubbard and Dizzy were among the jazz elite who descended upon Ayresome Park, the then home of Middlesbrough's football club.

On that occasion I watched from afar. I'd have had no such problem at the Blue Morocco. There's an intimacy about a live recording from a small club such as this that you don't get from a stadium gig even though Middlesbrough could be said to be the UK equivalent of the Bronx - the area of NYC where the short lived club was situated.

Apart from Hubbard, Maupin too lights a few fires, Kenny Barron is, as always, the ever inventive musical explorer.  Lewis is featured on Echoes of Blue which didn't give me personally a hotfoot. No fault of Lewis it was a turgid tune and dragged on for 15 minutes. 

CD1 closed with True Colors/Breaking Point only lasting a mere 13 minutes plus with Waits running wild towards the end - I felt he wanted more. 

 

CD1 had opened with a tune called Crisis. It's varying tempo added to the interest created by the hornmen as did Hubbard's catchy Up Jumped Spring. Along with the two other numbers mentioned they had got me into a receptive frame of mind even though the sleeve note warned me that, on CD2, after 23 minutes of Bye Bye Blackbird, 17 minutes of Summertime awaited me. Ah well, someone's got to do it.

Hubbard made Blackbird 'his own'. Miles may have recorded a more sensitive version but Freddie gets the nod for excitement. Bennie  too scores,   and the two horns trade blistering phrases - sometimes fours, sometimes not.

A shuffling 3/4 rhythm underlays the soloists as they do their best to give Gershwin's signature dish the kiss of life and I must admit that it stood up well as an instrumental not least thanks to Hubbard  and some sound bass playing from Lewis.

After Summertime, Breaking Point is reprised to wrap the album up.  The calypso rhythm is quite infectious and signifies another International Record Day triumph for Resonance. Lance

from https://lance-bebopspokenhere.blogspot.com