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Ready For Freddie Original recording remastered

4.7 out of 5 stars 3 customer reviews

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Product details

  • Audio CD (8 Mar. 2004)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Blue Note
  • ASIN: B00018ZY6G
  • Other Editions: Audio CD  |  Vinyl
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 269,296 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Arietis
  2. A Weaver Of Dreams
  3. Marie Antoinette
  4. Birdlike
  5. Crisis
  6. Arietis (Alternate Take)
  7. Marie Antoinette (Alternate Take)

Customer Reviews

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Top Customer Reviews

Format: Audio CD
This is not your run of the mill Blue Note album and the opening track "Arietis" is very reminiscent of the kind of warm sound that Miles Davis's Birth of the Cool band produced. Composed by Wayne Shorter, the sound of the ensemble is largely due to the addition of the euphonium of Bernard McKinney. Solo honours are shared by Hubbard, Shorter and McCoy Tyner at the piano - the latter sounding much more boppish than with the work he produced with Coltrane at around the same time. When McKinney solos, he has something of the furry tone of Bob Brookmeyer's trombone. Art Davis proves to be yet another under-valued bassist with a big sound and Elvin Jones is as brilliant as ever. (Sometimes you find youself just listening to his drums alone.)
Good as the ensemble is as a whole, it is Hubbard's solo work on "Weaver of dreams" that really takes the biscuit - this is one of the very great solos in the history of jazz. Nothing else comes near this flawless track, even on other records with Hubbard.
In summary, this is an interesting CD and Shorter yet again demonstrates why is is one of the best writers in jazz. An usual album that is definately worth tracking down. Excellent sound from Van Gelder as ever.
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Format: Audio CD
Hubbard's masterpiece. "Ready for Freddie" features some of the best hard bop trumpet on record, in glorious RVG re-mastered sound. Freddie is at his absolute best, buoyed along by a magnificent rhythm section in Elvin Jones, an early McCoy Tyner and Art Davis. Wayne is also on fine form, but it is Freddie that takes the honours with a sting of great solos, the peak being the 19 choruses of "Birdlike" an uptempo blues in F, full of amazing sustained brilliance. Trumpet players, listen to this and marvel! The tunes are also excellent, with Hubbard's "Arietis", "Birdlike" and "Crisis", a bouncy "Marie Antoinette" by Wayne and the ballad feature "Weaver of Dreams", an unusual choice that works well. All in all a glorious record by one of the greatest jazz trumpeters at his best - so what are you waiting for?
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Format: Audio CD
Trumpeter Freddie Hubbard(1938-2008) is in superb form on this sextet session recorded on August 21, 1961 with a stellar line-up of Wayne Shorter(tenor sax); Bernard McKinney aka Kiane Zawadi(euphonium); McCoy Tyner(piano); Art Davis(bass) & Elvin Jones(drums).
The seven memorable tracks(including two alternative takes) feature three Hubbard originals, one by Wayne Shorter and an impressive ballad treatment of Victor Young's 'Weaver of Dreams'.
The RVG remastered edition(2004) of 'Ready For Freddie' still sounds fresh over 50 years later and is essential for all enthusiasts of adventurous hard bop.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x8c832570) out of 5 stars 1 review
13 of 13 people found the following review helpful
HASH(0x8ccd9948) out of 5 stars Perhaps Freddie's best Blue Note session 12 Mar. 2000
By Douglas Gray - Published on Amazon.com
Format: Audio CD
This almost-impossible-to-find fourth album in a series of eleven recorded for Blue Note between 1960 and 1966 featuring Freddie Hubbard as a leader is arguably his best of the Blue Note era. After three previous issues (also hard to find) which matched Freddie with the likes of Paul Chambers and Philly Joe Jones of Miles' camp, Hank Mobley, McCoy Tyner (piano), Julian Priester and Jimmy Heath, this was his first of his many Blue Note sessions with the emerging forces of Wayne Shorter (tenor sax), Art Davis (bass) and Elvin Jones (drums). Bernard McKinney (euphonium) is added for depth of harmony during the heads, which he provides nicely, yet his improvisational efforts did nothing to add to the luster of this album.
At a mere 23 years of age, Freddie displays an early maturity that is mysteriously absent from many of his later recordings. He is solid, confident and purposeful here, and shows leadership quality, whereas in subsequent sessions with many of the same personnel, he often digs holes from which he cannot cleanly escape. This session is solid jazz, without any of Freddie's gimmicky antics or space-filling high-note blowing. Conversely, despite the famed careers of his esteemed sidemen, none of them are at their very best, with the possible exception of Art Davis.
The quality of the recording is questionable. There's a scratchy microphone, perhaps on Elvin's cymbals, which is sometimes irritating. Nevertheless, the balance is pretty good, and Art cuts through clearly - a rare event for a bassist in these early Blue Notes.
Arietis - A smart, warmly harmonious and upbeat swing original by Freddie, who takes honors and delivers a strong, well-constructed and well-phrased solo behind the anxious provocation of McCoy, Art and Elvin. Wayne follows with a solid, yet less mature improvisation. Bernie is next with a relatively weak display. McCoy finishes with a short, unimaginative solo. Art and Elvin have a powerful background presence.
Weaver Of Dreams - A ballad standard, warmly and richly interpreted by Freddie. The pace picks up for Freddie's ensuing solo, which is nice, but not too emotional. McCoy makes due with a risk-free improvisation of his own.
Marie Antoinette - An early, yet pleasant medium swing piece by Wayne, who starts off the solos with a nice effort suggestive of his early Coltrane influence. Freddie's next with another well-conceived solo. Bernie struggles through the next 32 bars, then its McCoy, taking it easy once again. Art closes with a fine solo, demonstrating his rich sound and mature technique.
Birdlike - A Freddie original and appropriately named bebop number. Freddie appears very comfortable in these surroundings and blows an extended solo which shows a strong Miles influence, the likes of which I've never heard from Freddie. Wayne follows with a somewhat rough, yet unmistakably Wayne solo. Bernie's solo is again amateurish, yet survivable. McCoy shows a bit more energy this time, but keeps it in the mainstream. Art delivers a strong cleanup, then out.
Crisis - A popular and often-played Freddie original which alternates between a dark, straight 4/4 thing, contrasted with a more powerful, optimistic swing feel. Again, Freddie shows great comfort and confidence playing over chord changes of his own design and provides a fine solo. Next up is Wayne, who really shows his guts here, as well as a look into the future of one the sixties' preeminent tenormen. I only wish it lasted a bit longer. I wish Bernie's was a bit shorter. McCoy's follow stays on the surface, and Elvin takes us home with a witty, yet not very dramatic solo.
Arietis (alternate take) - This take has more energy than the first, and contains perhaps the best improvisations of each player of the session. How the original take was chosen over this one, I'll never know. I found this newly-released gem to be the highlight of the album.
Marie Antoinette (alternate take) - Less memorable than the original, as Wayne is not as strong.
This is a wonderful and very listenable album with no faults, excepting the improvisations of Bernard McKinney. It is quite representative of the Blue Note "sound" of the era. I want to give it 4-1/2 stars overall, but I can't, so I'm giving it 5, primarily due to some of the best work I've ever heard from Freddie. If you can find it, buy it. I couldn't find the CD anywhere, until I stumbled upon it at the library. Lucky me.
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