READY FOR FREDDIE

[scottb]

I just got my copy of Hubbard's READY FOR FREDDY from the recent batch of RVGs

I had never heard this disc before but I like early 60's Freddie so needless to say I love this session. Not a big surprise.

What I was suprised about was the sound! This one sparkles even on my crappy jambox and in my car. From the first note I noticed how great this one sounds. Clear, audible bass, crisp cymbals and Freddies tone coming through as if he were in my backseat.

By the way, what is this euphonium on the disc? I thought a euphonium was closer to a tuba or baritone. This sounds more in the range of a trombone. I would have guessed valve trombone.

[BruceH]

This has become one of my favorite Blue Notes (well, OK, along with about 60 others). Most assuredly one of my three favorite Hubbard albums.

The euphonium listing may be a mistake, but I really don't know for sure. Anyone?

[robviti]

it's no mistake. bernard mckinney also played the euphonium on cool sound of pepper adams and other jazz recordings by sun ra, donald byrd, yusef lateef, and james moody.

Edited June 22, 2004 by jazzshrink

[scottb]

I went ahead and did a little internet research and as the picture indicates (thank you jazz shrink), the euphonium is very similar to a baritone and the two are often confused. It has a "lighter" sound and is similar in timbre to a trombone.

I guess in my mind I had it pitched deeper than a baritone and closer to a tuba. Ya' learn something new every day!

[Michael Fitzgerald]

In almost every case, the use of the term "baritone horn" is incorrect and should be euphonium.

Both instruments have the same basic range (identical to tenor trombone). The more conical bore of the euphonium makes it analogous to the cornet while the more cylindrical bore of the *true* baritone horn as well as the trombone makes those more like the trumpet.

It's all in the bore. Do not be confused by explanations that tell you a euphonium has four valves and a baritone horn has three, or that a euphonium bell points up while a baritone horn bell points forward.

British brass bands actually distinguish between baritone horns and euphoniums. You will find both there.

Mike

[mikeweil]

In almost every case, the use of the term "baritone horn" is incorrect and should be euphonium.

So the instrument Gus Mancuso played was a euphomium, too?

[Michael Fitzgerald]

Quite possibly. I'd probably have to see a picture.

Mike

[Shrdlu]

This has been a favorite of mine for many years. I first had it on a mono LP.

The sound on this session is excellent, and I think it's largely due to the original engineering. Rudy got his best ever sound at that time, I think. He recorded things very "hot", and the sound jumps off the record at you. When I "test drove" the LP, I was immediately impressed with the way Art Davis's bass came through strongly, even on the cheap hi-fi that the seller had.

Musically, this is hard to beat in the BN collection. I wish that there had been more selections recorded by that lineup. (How often do you think that when playing a BN album? "Back To The Tracks" is another gem where you want more, too.)

That euphonium sounds great on this session, and has pretty much the same effect as a valve trombone. Curtis Fuller would have been at least as good on the date, but McKinney and his horn are very welcome.

I haven't heard the new RVG, but the TOCJ is superb (and better than the Connoisseur CD, I think).

Getting back to Rudy's original engineering, I have found that his recordings from that era sound good even in late 80s McMaster CD versions.

[DrJ]

This is the best of Freddie Hubbard's early Blue Notes, which is really saying something in my book. The RVG is a strong improvement over the old Connoisseur version.

Not much to add to what's been said here, except to say that the alternate takes are fabulous, some of the best to be included on a BN CD. Particularly "Arietis," listen to the incredible drumming clinic Elvin Jones puts on behind the soloists, particularly towards the beginning of the track. It doesn't say so in the liners, but my guess is that it's Elvin's work that was the reason Alfred Lion opted to pass over this take...it's not as "clean" or maybe even as cohesive but with 40 years hindsight I think the alternate is by far the more exciting version, much of that due to Elvin letting a little more loose than in most of his appearances on BN hard bop dates. All the soloists sound way more "on the edge" too.

[sidewinder]

British brass bands actually distinguish between baritone horns and euphoniums. You will find both there.

Mike

Played both of these instruments in my (very much) younger days, in a UK brass band (baritone first, then euphonium before eventually graduating to trombone). Both are pitched in Bflat and have 3 valves - as Mike says, the range is comparable to the tenor trombone. Baritone was a very nice instrument to learn on.

The euphonium is an amazingly expressive instrument - it is often used for solo features in the same manner as the cornet soloist and the expresiveness of the instrument is not unlike the 'cello in string orchestras.

A good example of the use of euphonium in jazz can be found on the Andrew Hill 'Passing Ships' session. Here, the instrument has been deployed to great advantage, adding considerable depth and dynamic range to the group sound in combination with Julian Priester's trombone.

Edited June 30, 2004 by sidewinder