Freddie Hubbard: diferenças entre revisões
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'''Frederick Dewayne Hubbard''' (7 de Abril de 1938, Indianápolis, Indiana) é um [[trompete|trompetista]] de [[jazz]] [[Estados Unidos da América|estadunidense]].
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Na juventude, Hubbard associou-se a vários músicos em Indianápolis, dentre eles [[Wes Montgomery]] e seus irmãos. [[Chet Baker]] foi uma de suas primeiras influências, embora Hubbard tenha logo se alinhado à abordagem de [[Clifford Brown]] (e, claramente, [[Fats Navarro]] e [[Dizzy Gillespie]]).
Hubbard ingressou mais seriamente no jazz após mudar-se para [[Nova Iorque]] em 1958. Ali, trabalhou com [[Sonny Rollins]], [[Slide Hampton]], [[J. J. Johnson]], [[Bill Evans]], [[Philly Joe Jones]], [[Oliver Nelson]] e [[Quincy Jones]], além de outros. Tornou-se conhecido ao He gained attention while playing with the seminal [[hard bop]] ensemble [[Art Blakey]] and the [[Jazz Messengers]], appearing on such albums as ''Mosaic'', ''Buhaina's Delight'', and ''Free For All''. He left the Messengers in 1964 to lead his own groups and since that time has maintained a high profile as a bandleader or featured as a special guest, but never merely a sideman.
Frederick Dewayne Hubbard é o principal nome do trompete no jazz surgido depois de Miles Davis. Nascido em Indianápolis, tocou com os Montgomery Brothers. Mudou-se para Nova York em 1958. Em 1961 juntou-se aos Jazz Messengers de Art Blakey, com quem permaneceria até 1964. Depois tocou com Max Roach em 1965-66. A partir de 1966, passou a formar seus próprios quartetos e quintetos. Ao longo de quatro décadas, Hubbard tocou com alguns dos mais importantes nomes do jazz: além de Art Blakey e Max Roach, também com Eric Dolphy, Philly Joe Jones, Sonny Rollins, Slide Hampton, Jay Jay Johnson, Quincy Jones, Wayne Shorter e James Spaulding, entre outros. A partir de 1976 participou do grupo V.S.O.P. de Herbie Hancock, uma reedição do quinteto de Miles Davis dos anos 60, formado por Hancock, Ron Carter, Tony Williams, Wayne Shorter e com Hubbard ao trompete, ocupando o lugar que fora do próprio Miles. Nos anos 70, tendo assinado com a Columbia, sua música atravessou uma fase fusion / latin jazz de caráter mais comercial. Nos anos 80, voltou a tocar no estilo mais hardbop com alguns de seus antigos colegas.▼
Along with two other trumpeters also born in 1938, [[Lee Morgan]] (d. 1972) and [[Booker Little]] (d. 1961), Hubbard exerted a strong force on the direction of 1960s jazz. He recorded extensively for [[Blue Note Records]]: eight albums as a bandleader, and twenty-eight as a sideman. [http://www.danmillerjazz.com/hubbard.html] Most of these recordings are regarded as classics. Hubbard can be heard as a sideman on such classic albums such as ''[[Speak No Evil]]'' by [[Wayne Shorter]] and ''[[Maiden Voyage]]'' by [[Herbie Hancock]]. Hubbard appeared on a few early [[avant-garde]] landmarks (Ornette Coleman's ''[[Free Jazz: A Collective Improvisation|Free Jazz]]'', [[Eric Dolphy]]'s ''[[Out to Lunch (album)|Out to Lunch]]'' and [[John Coltrane]]'s ''[[Ascension (album)|Ascension]]''), but Hubbard never fully embraced free jazz, though it has influenced his playing.
After leaving Blue Note, Hubbard recorded for the Atlantic label and moved toward a more commercial style. His next label was [[CTI Records]] where he recorded his best-known works, ''Red Clay'', ''First Light'', and ''Sky Dive''. By 1970, his fiery, melodic improvisation and phenomenal technique established him as perhaps the leading trumpeter of his day, but a series of commercially oriented [[smooth jazz]] albums gave rise to some negative criticism, and his emotional instability on the bandstand became a problem. (A famous recording of Hubbard playing with Blakey in Europe features the trumpeter shouting at the audience, cursing, weeping, and leaving the stage.) After signing with [[Columbia Records]], Hubbard's albums were almost exclusively in a commercial vein. However, in 1976, Hubbard toured and recorded with V.S.O.P., led by [[Herbie Hancock]] which presented jazz in the style of the 1960s Miles Davis Quintet (with Hubbard taking the place of Davis).
1980s projects moved between straight-ahead and commercial styles, and Hubbard recorded for several different labels including Sweet Return by [[Joan Cartwright]] on Atlantic, Pablo, Fantasy, Elektra/Musician, and the revived Blue Note label. The slightly younger [[Woody Shaw]] was Hubbard's main jazz competitor during the 1970s and 1980s, and the two eventually recorded together on three occasions. Hubbard participated in the short-lived Griffith Park Collective, which also included [[Joe Henderson]], [[Chick Corea]], [[Stanley Clarke]], and [[Lenny White]].
Following a long setback of health problems and a serious lip injury in 1992, Hubbard is again playing and recording occasionally, but not at the high level that he set for himself during his earlier career.
==Selected discography==
* ''[[Goin' Up (Freddie Hubbard album) | Goin' Up]]'' (1960)
* ''[[Ready for Freddie (Freddie Hubbard album) | Ready for Freddie]]'' (1961)
* ''[[Hub-Tones (Freddie Hubbard album) | Hub-Tones]]'' (1962)
* ''Here to Stay'' (1962)
* ''[[The Body and The Soul (Freddie Hubbard album)| The Body and Soul]]'' (1963)
* ''Breaking Point'' (1964)
* ''[[Blue Spirits (Freddie Hubbard album)|Blue Spirits]]'' (1966)
* ''[[Backlash (Freddie Hubbard album) | Backlash]]'' (1966)
* ''[[Red Clay (Freddie Hubbard album)|Red Clay]]'' (1970)
* ''[[Straight Life (Freddie Hubbard album)| Straight Life]]'' (1970)
* ''[[First Light (Freddie Hubbard album)| First Light]]'' (1971)
* ''[[Sky Dive (Freddie Hubbard album) |Sky Dive]]'' (1972)
* ''[[Windjammer (Freddie Hubbard album) |Windjammer]]'' (1976)
* ''[[Bundle of Joy (Freddie Hubbard album) |Bundle of Joy]]'' (1977)
* ''[[Super Blue (Freddie Hubbard album) |Super Blue]]'' (1978)
* ''[[The Love Connection (Freddie Hubbard album) |The Love Connection]]'' (1979)
* ''Keystone Bop''/''A Little Night Music''/''Classics'' (1981)
* ''[[Sweet Return (Freddie Hubbard album)|Sweet Return]]'' (1985)
* ''[[Double Take (Freddie Hubbard album)|Double Take]]'' (with Woody Shaw) (1985)
* ''[[The Eternal Triangle (Freddie Hubbard album) |The Eternal Triangle]]'' (with Woody Shaw) (1987)
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É importante notar que Hubbard esteve presente em gravações históricas do jazz de vanguarda: em Free Jazz (1960), fazendo parte do revolucionário quarteto duplo liderado por Ornette Coleman e Don Cherry; em Ascension (1965), talvez a obra máxima de John Coltrane; em Out to Lunch (1964), o testamento de Eric Dolphy; e em Blues and the Abstract Truth (1961), de Oliver Nelson. O próprio Hubbard estima que tenha tocado em cerca de 300 discos ao longo de toda a carreira.
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