Review: Freddie Hubbard - Polar AC

An unexceptional recording by trumpeter extraordinaire Freddie Hubbard, especially given his immediately previous high quality output, it’s one of the entry efforts to his career brown patch that would unfortunately last for pretty much most of the rest of the decade.

A strong band has little to do with the middling pieces chosen, but none-the-less Hubert Laws’ flute and George Benson’s guitar blend seamlessly and create a good interplay. The soloing from both men and Junior Cook’s saxophone too is impeccable, but sadly the rest of the band are pretty much uninvolved and struggle to rise above the material.

Some grand over-production, typical of this period in CTI’s history, too drags the album down, with the obvious exceptions of ironically the title track, and ‘Son Of Sky Dive’. These two numbers sound alive and beat with a pulse that is clearly lacking from the rest of the album, so much so in fact that you suspect that maybe these two were recorded or produced at a separate session.

Freddie still soars high on his trumpet, but he’s clearly either uninspired or low on ideas throughout. For every half-decent moment there’s an equally lost-at-sea solo that leaves him sounding confused and unfocused. But like the album as a whole there is little that is actively unlikeable, just not much in the way of anything eventful or memorable. After the sheer musical highpoints of his opening CTI salvo, including ‘Red Clay’ and ‘Straight Life’, this is very much the sound of Freddie Hubbard coasting.

**

Review: Freddie Hubbard - Red Clay

The dominant and possibly defining jazz label of the 1970’s, CTI had an occasionally almost schizophrenic output, producing for the most part straight and swinging jazz as well as some of the best fusion works of the time, but also releasing a number of recordings that helped create the roots of smooth-jazz and muzak. As such, for every Stanley Turrentine’s ‘Sugar’ with it grooving funky jazz, or Jim Hall’s undisputed masterpiece ‘Concierto’, there’s a Bob James record which borders dangerously close to disco (good pianist, excellent arranger, lacklustre artist).

Grabbing the then biggest names in jazz, Creed Taylor signed them up to enjoy quite often their most commercially successful periods. For Freddie Hubbard this was obviously true, whose albums here sold massively in comparison to his earlier Blue Note sessions. Prior to CTI, his best work was often playing under the leadership of others such as Herbie Hancock or Wayne Shorter, but under Taylor’s wing he produced a tight fist of work that rank as his highest achievements under his own name. The first of these in particular, ‘Red Clay’, surrounds him with the stellar company of Herbie Hancock, Ron Carter, Joe Henderson and Lenny White, and is immediately a winner.

The title track opens with a short section that wouldn’t sound out of place on one of Miles Davis’ spacier sections from his epochal ‘Bitches Brew’, with Hubbard and Henderson trading blows, before quickly settling into a soulful and easy rhythm set out by Carter and White. Hancock plays some nice and languid electric piano over the top and everyone gets to solo with impressive skill and finesse. ‘Delphia’ that follows is almost as good too; a slower moving piece, with some moody organ work from Hancock, the trumpet man gets to play one of his finest solos, flitting from introspective to upbeat and lightly boppy. Some tasteful flute is added too, for colour rather than any solo, and it raises the piece nicely.

The cleverly-titled ‘Suite Sioux’ is perhaps the least interesting piece here, sounding like a more traditional if likeable enough bop, albeit with a subtle hint of bossa and the use of some electrics. Henderons solo though is spot on. A very seventies fade-out-and-then-fade-back-in closes the track unmemorably. ‘The Intrepid Fox’ gets things back on track though with an urgent and feverish number that has everyone sounding lively and energized, with some great riffing and Hubbard going for a definite less-is-more approach that handsomely pays off.

As bonuses we get a bold and funky take on John Lennon’s ‘Cold Turkey’, which though fun is far from essential and just runs out of puff. Much better is an impressive version of the title track from a later live date. At almost nineteen minutes, it’s some six minutes longer than the studio take and it’s a corker; looser and freer-flowing, it’s a powerful show, with the bonus presence of guitarist George Benson adding greatly to the mix.

‘Red Clay’ is a fusion work that doesn’t really fall into the same bucket as most other ‘fusion’. One of the earliest and perhaps ‘less fused’ records of the era, it’s basically a then contemporary take on modal jazz, but with harder hitting drums, and electric piano and bass instead of acoustic. No attempts here to borrow head-down groove from funk bands, slashing guitar work from the rockers, or bizarre keyboard effects and sounds, and as such it gives Hubbard his own voice while at the same time preventing it from sounding as dated as other similar works of the era. Additionally and importantly, there’s certainly no obvious copying of any of Miles or his then current experimentations. In fact it sounds simply like good strong jazz and is consequently one of the trumpeters (and labels) defining albums.

*****

Review: Stanley Turrentine - Salt Song

Stanley Turrentine became a mega-star off the back of 'Sugar'. And he simultaneously was able to keep the momentum going on it's follow-up 'Salt Song' and yet still keep his artist energies in full swing.

A successful tenure on Creed Taylors CTI label rewarded Stanley Turrentine with enviable artistic and commercial highs; his work with Taylor reportedly selling close to ten times more than he ever had with Alfred Lion’s Blue Note. Taking elements of fusion, without ever becoming fully affiliated with the movement, his recordings are consistent and hugely accessible for both new and old listeners alike.

After the massive success of ‘Sugar’ – which would later lead to one of his two nicknames, ‘The Sugar Man’ – Turrentine recorded ‘Salt Song’, and though not as strong a record as his brilliant new label debut, it is only just a small fraction behind. Eumir Deodato is the man to thank for the compelling sound of the record, with subtle and lightly funky arrangements creating a smooth lightness of touch, and some great percussive flair from the rhythm man of the decade, Mr Airto Moreira.

Freddie Hubbard’s ‘Gibraltar’ leads, with its fun time shifts and highly distinctive theme suited well to the slight fusion funk. Turrentines solos are up there with his very best and hugely under-rated guitarist Eric Gale shows why he was in such demand throughout CTI’s lifespan, with both some sterling rhythm and lead work. ‘I Told Jesus’ then changes pace for a full-on gospel outing, replete with prominent choir vocals. It’s a strong tune, with the tenor man sounding highly soulful and suitably bluesy, but it does feel just a bit out of place, especially when sandwiched between the more energised ‘Gibraltar’ and the stellar title track that follows immediately after.

‘Salt Song’, by Milton Nascimento is aptly the most Brazillian sounding track here, and one of the best; moving between standard and double time, the whole band follow skilfully with Moreira displaying some incredible and fast playing. ‘I Haven’t Got Anything Better To Do’ slows things down again for a blues and some more gospel strings, before ‘Storm’ finishes on a highly funky and rhythmic showcase for the whole band, with appropriately Turrentine taking the main honours.

It has to be said that ‘Salt Song’ is not ‘Sugar Part 2’. The groove is different and with a definite look to gospel and blues more than the R&B and funk of before. That said, for any fans of the first record, they will definitely find listening satisfaction here. All strong tunes, the slower pacing of two of the numbers might put some off, but the faster uptempo numbers are just exceptional. As always though, it’s ‘The Sugar Man’s’ show and his playing, as it always was, is bluesy, soulful and magnificent.

****

Review: Stanley Turrentine - Sugar

Stanley Turrentine possessed one of the biggest and fattest soulful tenor sax sounds of all time. And 'Sugar' is his masterpiece. Anyone with even a passing interest in Turrentine or soul-jazz needs to look here.

After some twenty varying works over almost ten years for the established Blue Note label, ranging widely in quality but with a good number of excellent sessions, tenor saxophonist Stanley Turrentine then signed with the still young CTI. Formed by Verve producer-extraordinaire Creed Taylor, who brought with him highly-regarded Blue Note engineer Rudy Van Gelder, the label fast developed a strong reputation for sharp sound, production quality and most importantly giving an extra commercial boost to many jazz artists without having to resort to pandering or ‘selling-out’.

Turrentine joined the label in 1970, having made a respectable if not particularly huge impact with his former employers. A long-time yet still young veteran of the soul-jazz scene, he was quickly paired by Taylor with some of the finest contemporary players around, including the fast-rising George Benson on guitar, Freddie Hubbard on trumpet, Lonnie Liston Smith and Butch Cornell, on organ and electric piano respectively, Billy Kaye on drums and unsurprisingly Ron Carter on bass. Carter being of course almost the sole bass player of the CTI label. Together, armed with just three extended tracks, they seemingly effortlessly made Turrentines then best record.

‘Sugar’, the title track, is a grooving soul-blues number with a mellow yet irrestibly funky rhythm at its centre giving a nice springboard to Turrentine, Hubbard and Benson to turn up the heat and lay down some smouldering and blistering solos. It’s a perfect party number, was a suitably huge hit, and would become a firm Turrentine fan favourite, before eventually even becoming Turrentine’s most popular nickname.

Butch Cornells own ‘Sunshine Alley’ is a funkier number with a nice rhythm set by Smith’s organ. Faster paced than the opening cooker, it keeps the party feel going from the first piece and ups the groove by just the right amount. A surprising take on John Coltranes own ‘Impressions’ then wraps everything up with an emotionally uplifting and solid ending, and again highlights all the soloists strengths as performers.

It’s not a fusion session, although there are some electric and electronic instruments and other fusion elements here, and it isn’t jazz-funk either - ‘Sugar’ though is Turrentine’s own blended take on soul-jazz with plenty of both funk and groove. It’s a very listenable record and has many fans. While his Blue Note records can be good, and they frequently are, very few are as exceptional as the recording shown here, and there’s often a lack of unique distinction to his own voice. This though is an incredibly satisfying listen and is easily one of the great mans, and the decades, best.

*****