Search - Freddie Hubbard :: Goin Up

Early Freddie with a Great Lineup

Jack Baker | LeRoy,IL | 01/17/2008

(5 out of 5 stars)

"In my quest to obtain more sessions with the great Hank Mobley, I picked up this album. This was a no brainer because Freddie Hubbard has quickly become my favorite trumpet player, particularly when paired with Mobley. for some reason, Hank just seems even more passionate and fiery when coupled with Hubbard, who to my untrained ear pushes Hank more than a Lee Morgan or Art Farmer. Hubbard's playing is so dynamic that I think it forces Mobley to step up his game to compete with the younger man. I love "The Changing Scene", one of two Mobley penned numbers. Hubbard is almost out of control on his solo and Hank Mobley is at his smooth best. Their playing on the two Kenny Dorham numbers are inspired. "I Wished I Knew" is a beautifully rendered ballad. McCoy Tyner lends some able work on the ivories and once again Philly Joe Jones and Paul Chambers lay the perfect foundation. Philly Joe has become my favorite jazz drummer for his solid tempo and restrained fury on solos, especially evident on "Karioka". All five of these musicians acquit themselves admirably on this set. Freddie Hubbard would only get better, but this album is pretty close to perfect."

Classic

Sophia Illescas | Norcross, GA USA | 02/09/2008

(5 out of 5 stars)

"Of all of freddie's albums, this is my favorite. I love every song on this album. I can listen to these songs all day (sometimes I do!). The man is a genius and I love his early hard bop style. This is a masterpiece. A must have!"

Limited, and all the more essential

Samuel Chell | Kenosha,, WI United States | 09/28/2009

(5 out of 5 stars)

"All musicians, especially trumpet players, have a limited window of opportunity during which it's unthinkable not to collect their best work. For Freddie, it's 1958-1970, the latter, the year of "Red Clay," the album that sprung him to international stardom but arguably marked the beginning of the decline. Nonetheless, no trumpeter, with the possible exception of Miles, has had a more distinguished discography, both under his own name and that of seminal greats such as Eric Dolphy, Oliver Nelson, Coltrane, Hancock, Ornette. (Miles didn't like Freddie--Thad Jones was his man--but he must have been listening to his later Columbia recording rival).



What's special about "Goin' Up" (a phrase ironically describing the ascent that led to his lip-busting career-finisher) is inspired work by Freddie and one of his rare appearances with the peerless (sorely underrated), lyrical and soulfully sublime Hank Mobley. Were it not for Mobley's presence, the first four numbers on the program--up-tempo hard bop vehicles--would suffer from sameness. The 5th is a ballad but, if you're downloading, save yourself the extra expense (it's over six minutes; hence Amazon doubles the price), and be sure to pick up Freddie playing "Blue Moon" with Blakey instead. The 6th is more of a funk, back-beat groove number. Unlike Henderson, Mobley is never "merely" different or innovative; unlike Ervin, he's not about to spew testosterone and heat to command your attention. It's all about melody, phrasing, invention, and emotion at the service of a thought. The influence seems to exert its charm on Hubbard, who eschews gratuitous trills and lunges to the stratosphere. The rhythm section is redoubtable (though Garland or Kelly might have been the more appropriate choices on this date.)



Like all of the Blue Note albums with Mobley (at least up to 1967), this one takes flight."