Freddie Hubbard
Open Sesame

LA RECENSIONE

With "Open Sesame," we are presented with the debut work of a true rising star of Jazz from the early '60s and beyond. A star that has rapidly excelled with lightning speed and brought the sound of his bell to historic records of artists like Coltrane and Ornette Coleman, for example: Freddie Hubbard.

Hubbard has and shows the potential to become what he eventually would become, namely a trumpet ace and one of its most influential performers; and this album, recorded for Blue Note, is the most truthful testament to that. The title is not prophetic but a clear indication of the opening to Freddie Hubbard's talented world. We are in New York in 1960, and the 22-year-old Hubbard, arriving from Indianapolis after some experiences with Wes Montgomery and his brothers, debuts with an appealing album: the "official" leader is him, but in fact, this leadership is shared with the excellent tenor saxophonist Tina Brooks. Brooks belongs to that group of Hard Bop school musicians who deserved to reap more rewards thanks to their talent. Not only that: Brooks brings to the table a very inspired songwriting, and as a testimony to that, from his pen, come the two standout pieces of the album: "Open Sesame" and "Gypsy Blue".

In "Open Sesame", Brooks the composer plays the card that I personally consider infallible in the Hard Bop realm: a recognizable and intriguing theme, then the break and a decisive start for the solos. Hubbard, without any hesitation, makes clear what he's made of, and his maturity combined with mastery of the instrument and its language, despite his young age, is undeniable: he is aggressive but sweet, he bites but is delicate. Brooks emphasizes and in "Open Sesame" delivers a generous performance, showcasing a sound to be associated with a sumptuous and powerful phrasing, in line with his points of reference, such as Dexter Gordon, for example. The same goes for "Gypsy Blue", which, thanks to the exotic theme performed by the two, harmonizing the notes, captures the listener and delights them. Another noteworthy piece is "All Or Nothing at All", a longtime favorite of crooners, and which, after a fascinating introduction by McCoy Tyner on piano, is led by Hubbard in a three-way race alongside Clifford Jarvis's drums, a compact steamroller, and Sam Jones's soft counterpoints on the double bass, a historic member of Cannonball Adderley's quintet.

The talent of the musicians on display stands out in other moments of the album, such as in "But Beautiful", where the sinuous patterns of Brooks and Hubbard, and Tyner's romanticism, leave a trail of exquisite craftsmanship in the field of ballads. Also, "Hub's Nub" by Hubbard, a track with obvious Hard Bop accents, further contributes to the success of the album. The CD, unlike the original album, also contains two alternative versions of "Open Sesame" and "Gypsy Blue", but which remain essentially the same as the originals. An album to buy, to give due recognition to Tina Brooks's talent and, above all, to confirm that of Freddie Hubbard, one of the most brilliant talents ever seen on the face of the earth.