Happy 50th Anniversary to Freddie Hubbard’s First Light, originally released October 12, 1971.
During the 1970s, the jazz music scene began to change, embracing brand new electric instrumentations, blending new elements of rock, funk, soul, and folk, and gradually incorporating them into the evolving jazz fusion genre. Even cool jazz and bebop were evolving into a lull-nuanced, placid sound. At the core of the new music genre that sparked the revolution was CTI Records.
In this new musical backdrop, Freddie Hubbard was one of the pioneers of the new genre. With his trademark dazzling skills, lively-brisk phrasing, rich, sultry tone, and natural sense of melody, the trumpeter set the bar for many jazz artists to come.
In his early years, the Indianapolis-born musician was a college student, mastering his music skills, referencing Miles Davis as a guide. However, his artistic career only took off when he moved to New York City, after dropping out of college in 1958. While in the Big Apple, the 20-year-old artist established himself as a session musician in various clubs across the city. In 1960, Hubbard met the jazz legend Davis who stopped by to see his show at the Birdland club. After the gig, Davis was surprised and pleased by Hubbard's talent and introduced him to producer Alfred Lion. Later, Lion signed Hubbard to a four-record contract deal with his universally revered label Blue Note Records.
During his contracted period with Blue Note, Hubbard released his first albums: his debut record Open Sesame (1960), followed by notable LPs Goin’ Up (1960), Hub-Tones (1962) and Breaking Point! (1964), which boast surgical precision complemented with light-speed sequences. He also appeared in collaborations with several artists, including Herbie Hancock on the pianist’s Empyrean Isles (1964) and Maiden Voyage (1965).
The ‘70s, however, marked a real turning point for Hubbard, who released three of his greatest albums for CTI Records: Red Clay (1970), Straight Life (1970), First Light (1971) and Sky Dive (1973). The production and creative processes of the records included producer Creed Taylor, Hancock on the piano, George Benson on guitar, bassist Ron Carter, saxophonist Joe Henderson, Percussionist Airto Moreira, and drummer Lenny White whose undeniable beats can be heard on Davis’ legendary game-changer Bitches Brew (1970).
The first record of the trilogy, Red Clay, introduced Hubbard to a whole new musical territory. Released in May 1970, the album began to shape Hubbard’s indisputable blueprint sound. Combining funk, jazz, bop, and blues, Red Clay is one of the musician's most exceptional moments as a leader who used all his strengths as a soloist, composer, and front man. Opening with the title track, “Red Clay,” the record is perfectly executed, offering a vast array of tight grooves, warp lighting speed of sequencing, and contrasting lines. The highlight of the album is the rigorous precision of the interplay between the musicians.
The noticeably short Straight Life was released in November 1970. Straight Life bestows fine lengthy, in-your-face solos, Latin-bossa-tinged melodies and beats combined with funk grooves and blues strings. The band setting was formed by all-star master musicians including Hancock, George Benson, Jack DeJohnette, Carter, and Henderson. The result of the collaboration is an upbeat and melodic album drenched in exquisite solos, rhythm, and improvisational sections.
Hubbard’s previous artistic endeavors were fundamental for him to find his sound and style. With First Light, however, he settles into his character and sound as one of the master musicians of the new movement, whose trademark style is still undeniable today.
The record, still featuring the all-star lineup showcased across Hubbard’s previous albums (Benson, DeJohnette, Carter, Moreira), includes the extension of the personnel to an impressive backing of a string and horns orchestra.
Recorded at Rudy Van Gelder’s studio and released on October 12th, 1971, First Light is arguably one of Hubbard’s best works. While crafting the album, the trumpeter strived to push the envelope and make something radically different from his previous works, eventually taking distances from the soul-jazz model. First Light is hence a blend of funk, tight rhythms, ethereal string arrangements, and dreamy, timeless melodies. The textured sound, the inclusion of flute, harp, vibraphone, and strings perfectly counterbalance the funky bass and syncopated drums, courtesy of Carter and DeJohnette.
The title track “First Light” commences with a classic jazz solo to then develop gradually into a mid-tempo bossa nova groove, with swirling woodwinds and violins, breathtaking trumpet staccato, and Benson layering a smooth tone on the guitar.
The cover of Paul and Linda McCartney’s “Uncle Albert/Admiral Halsey” starts off with a smooth, breezy trumpet solo, joined by the string set and harp, then progresses into a full-funk and hard-bop excursion. The punchy arrangement of the song allows both Hubbard, flutist Hubert Laws, and Benson to boast their improvisational skills. With “Uncle Albert/Admiral Halsey,” Benson’s appearance on the record concludes.
Across Side B of First Light, Hubbard delves deep into his romantic side, loosening up the tight tempos into more melodic ballads. The second part of the album is a crucial testament to how the melody is intrinsic in Hubbard’s music.
Inspired by film director Mervyn Leroy’s 1966 psychological thriller, “Moment to Moment” is an elegant rendition of Henry Mancini’s movie soundtrack. Hubbard’s sultry trumpet is accompanied perfectly by a fairy tale-esque violins segment.
The romantic melancholy of “Yesterday’s Dreams,” with the funky yet soft muted trumpet lines, whirling violins, and flute is the upheaval of orchestral hilarity at its finest. “Yesterday’s Dreams” demonstrates Hubbard’s ability to infuse his music with every last drop of emotion: a vital component in building a connection with the listener.
The alluring “Lonely Town” opens with a section of violins, flutes, bassoons, and harp, delivering a magnetic aura of mystery. Hubbard then proceeds to perform a lengthy blues solo in the mid-section, to then expand it to a steadier groove, which allows him, Richard Wyands on piano and Carter on drums, to interact in a clear-cut solo.
Closing First Light, the grandiose “Fantasy in D (Polar AC)” returns to the album’s opening bossa nova-nuanced warm sounds with the addition of a set of violins, exquisite trumpet solos, and impeccable drumbeats.
With First Light, Hubbard took distance from mainstream jazz, seeking to craft something different sonically, melodically and arrangement-wise. As a result, the album unfurls as an intriguing fusion of dreamy orchestra arrangements, lavish, romantic melodies spiced up with tight, funk-fueled rhythms. A beacon not only of Hubbard’s creativity, First Light also proved pivotal in allowing Hubbard to settle into his trademark sound and style, which are still relevant and undeniable fifty years later.
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