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Freddy Kempf – Prokofiev: Piano Sonatas Nos. 3, 8 & 9 (2019) [Official Digital Download 24bit/96kHz]
Freddy Kempf – Prokofiev: Piano Sonatas Nos. 3, 8 & 9 (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 56:06 minutes | 856 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BIS
Sergei Prokofiev virtually grew up at the keyboard –he composed for the piano from early childhood, and the instrument was his workshop and laboratory. Well before the end of his student days he had absorbed the virtuoso techniques of Rachmaninov and Scriabin, and to these he added his own brilliant, sharp-edged virtuosity, marked by a keen contrast between dramatic, hard-driven passages and more intimate and gentle lyrical moments. His nine sonatas therefore hold a very special place in his output and represent his language at its most personal, free of any external dramatic, verbal or visual associations: they contain the essential Prokofiev.
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Freddy Kempf – MUSSORGSKY, M.P.: Pictures at an Exhibition / RAVEL, M.: Gaspard de la nuit / BALAKIREV, M.A.: Islamey (Kempf) (2008)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:05:16 minutes | 925 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BIS
Partly on the basis of his several discs on BIS, Freddy Kempf enjoys a reputation as an explosive and physical performer but also as a highly sensitive artist. His performance of Chopin’s Etudes received high praise, for instance in American Record Guide: ‘At 27, Kempf has attained something most pianists strive for over an entire lifetime … This release can justly take its place among the very finest recordings of Chopin’s Etudes. The set of Liszt’s Transcendental Etudes was equally well received: ‘Kempf captures the essence of Liszt in playing of wistful nostalgia, yearning passion, with arpeggios and cadenzas that shimmer and scintillate’ (International Piano). The programme on the present release bears witness to Liszt’s contribution to piano writing: three central works in the great virtuoso literature for solo piano with qualities in terms of characterisation and timbre that have led them all to become the objects of orchestral arrangements – in the case of Mussorgsky’s Pictures numerous times. Pictures from an Exhibition was composed in only three weeks in 1874, in a sort of creative frenzy following the death of Mussorgsky’s friend, the painter and architect Viktor Hartmann. Some of the pictures by Hartmann that inspired Mussorgsky have now disappeared; those that have survived can be seen at the Tretyakov Gallery in Moscow. But to search for a direct correspondence between the pictures and their musical counterparts would be pointless: Mussorgsky sought to portray Hartmann’s world more intuitively. Balakirev’s Islamey was composed five years earlier, and is based on two themes. The first, called ‘Islamey’, is a melody from north Caucasia, and the second is a Tatar melody from the Crimea. It was long regarded as the most difficult work in the entire piano repertory, and in fact, when Ravel 1908 composed Scarbo, the third movement of Gaspard de la Nuit, he specifically wanted to write something that would be even more difficult. Based, like the other two movements, on a prose poem by the French fantastic writer Aloysius Bertrand, Scarbo is the depiction of an evil spirit of the night, while Ondine describes the futile love of a water nymph for the poet, and Le Gibet a hanged man and his gallows.
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Freddy Cole – My Mood Is You (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 52:07 minutes | 1,03 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © HighNote Records
Time has been kind to Freddy Cole, who on ‘My Mood is You’ is singing with the vitality and zest of a man half his age. His seasoned voice is as affecting as ever, his understanding of a song’s expressive anatomy never more incisive. His unimpeachable artistry, rather than longevity, is what positions him as today’s vocal jazz master.
Very few artists stay at the top of their game for their entire career. However, Freddy Cole’s velvet unhurried singing style remains every bit as cool and hip as it was when his first record was released in 1964.
Pianist John di Martino, bassist Elias Bailey, guitarist Randy Napoleon and drummer Quentin Baxter, are trusted associates of Cole who respond to his inimitable sense of swing with now intuitive assurance. Guest saxophonist Joel Frahm displays a sympathetic style that puts him in league with such earlier illustrious Cole saxophone allies as Houston Person and David “Fathead” Newman.
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Freddie Roach – Down to Earth (1962/2021)
FLAC (tracks) 24 bit/48 kHz | Time – 38:41 minutes | 403 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Music Manager
Down to Earth is the debut album by American organist Freddie Roach recorded in 1962 and released on the Blue Note label.
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Freddie Hubbard, Stanley Turrentine – In Concert Volume Two (1973/2017)
FLAC (tracks) 24 bit/192 kHz | Time – 41:51 minutes | 1,57 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © CTI Records
In Concert Volume Two is a live album recorded in 1973 by jazz trumpeter Freddie Hubbard pianist, Herbie Hancock and tenor saxophonist Stanley Turrentine. It was recorded in Chicago and Detroit for Creed Taylor’s CTI label and features performances by Hubbard, Turrentine, Hancock, Eric Gale, Ron Carter and Jack DeJohnette.
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Freddie Hubbard, Stanley Turrentine – In Concert Volume One (1973/2017)
FLAC (tracks) 24 bit/192 kHz | Time – 38:40 minutes | 1,52 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © CTI Records
A 1973 live album co-starring Freddie Hubbard (tp) and Stanley Turrentine (ts), two horn players representing CTI. He is developing an incandescent interplay with all-star groups Herbie Hancock (elp), Eric Gale (g), Ron Carter (b) and Jack DeJohnette (ds). Both of the two songs recorded are enthusiastic performances that exceed 19 minutes, and the whole play of the super players will be developed. In particular, the performance of Hubbard’s masterpiece “Gibraltar”, in which the group burns together, is impressive.
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Freddie Hubbard & Woody Shaw – The Eternal Triangle (1987/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 41:50 minutes | 1,60 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
No one should consider the pairing of great jazz trumpeters Freddie Hubbard and Woody Shaw akin to oil and water. Both are on fire, defer to each other’s personalized sound, and swing hard with fervor, supported by an equally talented band featuring the always wondrous pianist Mulgrew Miller, bassist Ray Drummond, and drummer Carl Allen. The X factor is alto saxophonist Kenny Garrett, fresh off a stint with Miles Davis, who rounds out the overall sound and contributes a vital harmonic element to the double-edged swords Hubbard and Shaw wield. The eight tracks are balanced between originals by the co-leaders and compositions from their revered predecessors, all molded into straight-ahead, no-nonsense hard bop. Shaw’s famous “Moontrane” and lesser-known “Tomorrow’s Destiny” are shining examples of how to modernize tried and true bop themes, the former a memorable hard-charging number with the brass players shadowing each other in full, rich dialog, the latter cleanly moving from inventive spatial modal tones to calypso and bebop with seamless acumen. Hubbard’s “Down Under” challenges the soul shuffle precept with some great harmonic content from the three horns, while the neglected “Nostrand and Fulton” moves from beats of four, five, and six with seeming magical cues that fool you until you listen a second or third time. Lee Morgan’s “Calling Miss Khadija” contains much spirit in a modal 6/8 framework; Kenny Dorham’s “São Paulo” uses flutter and trilled unison lines effectively with melodic long tones and tuneful notes within the spaces; and the straight Sonny Stitt bopper “The Eternal Triangle” simply steams ahead with Hubbard, Shaw, and Garrett like a passenger train. Little Benny Harris wrote the closer, “Reets and I,” for Bud Powell, and on this session the band does nothing to diminish its impact. What Miller brings to this group cannot be discounted, a presence in terms of support, but also one who is clearly having a ball inventing chords and substituting his own harmonic flourishes, clearly inspired by his cohorts. This group toured sporadically, giving live audiences a stretched-out taste of what these two brilliant musicians were capable of dishing out in their later — but still formative — years. You’d be hard-pressed to find another pairing of great jazz trumpeters that made music as spectacular as is heard on this essential recording, perfect or fans, students, or those who simply love a hard-swinging, boldly played brass horn or two. –Michael G. Nastos
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Freddie Hubbard – Double Take (1985/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 44:00 minutes | 1,66 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
This compelling album marked the first of two historic collaborations in the 1980s from trumpet innovators Freddie Hubbard and Woody Shaw. In addition to the two starring trumpeters, the session features alto saxophonist Kenny Garrett, pianist Mulgrew Miller, bassists Cecil McBee and Ray Drummond and drummer Carl Allen.
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Freddie Hubbard – The Night Of The Cookers (Volume Two Live) (1965/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 45:15 minutes | 1,87 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
On The Night of the Cookers, Freddie Hubbard plays with Lee Morgan, James Spaulding, Harold Mabern, Jr., Larry Ridley, Pete LaRoca and Big Black. Recorded on April 9 & 10, 1965 and released that same year, the album has been described as “one of the most compelling documents of a live band in full flight” (Maxwell Chandler, Jazz Police).
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Freddie Hubbard – The Night Of The Cookers (Volume One Live) (1965/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 41:42 minutes | 1,74 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
On The Night of the Cookers, Freddie Hubbard plays with Lee Morgan, James Spaulding, Harold Mabern, Jr., Larry Ridley, Pete LaRoca and Big Black. Recorded on April 9 & 10, 1965 and released that same year, the album has been described as “one of the most compelling documents of a live band in full flight” (Maxwell Chandler, Jazz Police).
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Freddie Hubbard – The Hub of Hubbard (1970/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 34:59 minutes | 1,43 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © MPS
Hub-Tones from trumpeter Freddie Hubbard features his original songs as well as a spiced-up version of the standard You’re My Everything, recorded in October 1962 for Blue Note. The lineup backing Hubbard includes James Spaulding on alto sax and flute, Reggie Workman on bass, Clifford Jarvis on drums and the legendary Herbie Hancock on piano.
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Freddie Hubbard – The Artistry Of Freddie Hubbard (1962/1996)
FLAC (tracks) 24 bit/96 kHz | Time – 43:03 minutes | 970 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Impulse!
Over the course of his nearly five decade career, trumpeter Freddie Hubbard established himself as one of the most versatile and inventive jazz musicians of the twentieth century. The Grammy-winning virtuoso appeared on some of the most important albums in the genre, including seminal works by Ornette Coleman, Herbie Hancock, Art Blakey, John Coltrane, and countless others. The Artistry Of Freddie Hubbard, his fifth album for Impulse!, is a spellbinding piece of jazz history. Hubbard’s molten lines are augmented by the trombone work of the legendary Curtis Fuller and tenor saxophonist John Gilmore of the Sun Ra Archestra. One of the all-time great jazz records.
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Freddie Hubbard – Sweet Return (1983/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 48:11 minutes | 1,68 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Rhino Atlantic
Sweet Return is a definitive outing from the energetic trumpeter Freddie Hubbard. Joined by an all-star lineup of bassist Eddie Gomez, pianist Joanne Brackeen, drummer Roy Haynes and tenor Lew Tabackin, the ensemble tenderly interprets standards with an overwhelming amount of originality. Standout moments included the classics, “Misty,” “Whistling Away The Dark,” and “The Night Has A Thousand Eyes.” Hubbard’s timing is beautifully spaced and his tone has never sounded more vibrant. Experience this masterwork as a super hi-res download!
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Freddie Hubbard – Sky Dive (1973/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 34:42 minutes | 1,33 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © CTI Records
Sky Dive is the twentieth album recorded in 1972 by jazz trumpeter Freddie Hubbard. It was his fourth album released on Creed Taylor’s CTI label and features performances by Hubbard, Keith Jarrett, George Benson, Ron Carter, Billy Cobham, Airto Moreira and Ray Barretto.
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Freddie Hubbard – Red Clay (1970/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 39:19 minutes | 1,49 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © CTI
This may be Freddie Hubbard’s finest moment as a leader, in that it embodies and utilizes all of his strengths as a composer, soloist, and frontman. On Red Clay, Hubbard combines hard bop’s glorious blues-out past with the soulful innovations of mainstream jazz in the 1960s, and reads them through the chunky groove innovations of ’70s jazz fusion. This session places the trumpeter in the company of giants such as tenor saxophonist Joe Henderson, pianist Herbie Hancock, bassist Ron Carter, and drummer Lenny White. Hubbard’s five compositions all come from deep inside blues territory; these shaded notions are grafted onto funky hard bop melodies worthy of Horace Silver’s finest tunes, and are layered inside the smoothed-over cadences of shimmering, steaming soul. The 12-minute-plus title track features a 4/4 modal opening and a spare electric piano solo woven through the twin horns of Hubbard and Henderson. It is a fine example of snaky groove music. Henderson even takes his solo outside a bit without ever moving out of the rhythmatist’s pocket. “Delphia” begins as a ballad with slow, clipped trumpet lines against a major-key background, and opens onto a midtempo groover, then winds back into the dark, steamy heart of bluesy melodicism. The hands-down favorite here, though, is “The Intrepid Fox,” with its Miles-like opening of knotty changes and shifting modes, that are all rooted in bop’s muscular architecture. It’s White and Hancock who shift the track from underneath with large sevenths and triple-timed drums that land deeply inside the clamoring, ever-present riff. Where Hubbard and Henderson are playing against, as well as with one another, the rhythm section, lifted buoyantly by Carter’s bridge-building bassline, carries the melody over until Hancock plays an uncharacteristically angular solo before splitting the groove in two and doubling back with a series of striking arpeggios. This is a classic, hands down.
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