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SPOTLIGHT:
JAZZ
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Freddie Hubbard And The New Jazz Composers Octet

by Dr. Roberta E. Zlokower, Mark Millen
September 11, 2003
Iridium
1650 Broadway, Corner of 51st St
New York, NY 10019
212.582.2121

Freddie Hubbard And The New Jazz Composers Octet

With
Freddie Hubbard on Trumpet
Craig Handy on Alto Sax
David Weiss on Trumpet
Jimmy Greene on Tenor Sax
Norbert Stachel on Baritone Sax
Danny Grissett on Piano
Steve Davis on Trombone
Nasheet Waits on Drums
Dwayne Burno on Bass

at
Iridium Jazz Club
1650 Broadway, Corner of 51st St, NYC
212.582.2121
www.iridiumjazzclub.com
(See Other Iridium Reviews)

Media Contact: Jim Eigo, Jazz Promo Services
jazzpromo@earthlink.net

By Dr. Roberta E. Zlokower
September 11, 2003

Jazz Promo Notes:

Trumpet/flugelhorn player Frederick Dewayne (Freddie) Hubbard (b. 1938) came out of Indianapolis in the late 1950s to almost instant stardom as part of the new thing in jazz: hard-bop and beyond into modal playing, freedom of expression, soul jazz and, within a few years, the first inklings of fusion. By the mid-60s Hubbard had played with Sonny Rollins, Eric Dolphy, Ornette Coleman and Oliver Nelson and spent several years in a featured role with Art Blakey's Jazz Messengers. He appeared on some of the decade's watershed albums: Coleman's "Free Jazz", Dolphy's "Out to Lunch", Rollins's "East Broadway Rundown", Nelson's "Blues and the Abstract Truth", Blakey's "Mosaic", "Free for All", "Ugestsu" and "Kyoto", John Coltrane's "Ascension" and Herbie Hancock's "Maiden Voyage".

With Greene's tenor sax in the lead, this band of eight renowned musicians (Hubbard sat out the first piece) had a progressive, wild, Big Band sound. The lead moved to Grissett's dynamic piano and then Burno's vibrant bass. The repetitive dynamism on the keyboard built the momentum. This first piece, written by David Weiss (on trumpet), had a clear powerful effect on tonight's audience at Iridium. The second piece, written by Hubbard, had a Japanese motif. It was more traditional, with a piercing trumpet solo by Freddie Hubbard and rapid backup by Stachel's baritone sax. In this diffuse, but steady theme, the three saxophones were sensational, notably Handy's alto sax and Greene's tenor sax. I remembered hearing Freddie Hubbard in the Village, many years ago, with various groups, and this piece was reminiscent of that jazz period.

The next very progressive piece showcased Burno's bass. Freddie Hubbard took a turn at the keyboard for some smooth jazz to follow the dissonant, earlier works. He interjected snippets of Standards into his piano lead, before Stachel took up a flute and brought this piece to a soaring Bossa Nova melody, which soon sped into a Salsa rhythm. Handy's very potent riffs on alto sax were matched by resonant riffs on Burno's bass. Although this second set seemed brief, it was really good to have Freddie Hubbard back onstage at Iridium. Jazz fans should keep an eye out for Craig Handy, Danny Grissett, and Jimmy Greene, among the other very talented musicians in performance tonight.


Freddie Hubbard And The New Jazz Composers Octet
Photo courtesy of Mark Millen



Freddie Hubbard And The New Jazz Composers Octet
Photo courtesy of Mark Millen



Freddie Hubbard And The New Jazz Composers Octet
Photo courtesy of Mark Millen



Freddie Hubbard And The New Jazz Composers Octet
Photo courtesy of Mark Millen



Freddie Hubbard And The New Jazz Composers Octet
Photo courtesy of Mark Millen

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