1
ubbar
by Dave Robinson
DTH Contributor
Uonisy, February 2, 197S Ths Di!!y Ttr H::l 3
d's
norn electrifies Memorial crowd
Freddie Hubbard, veteran jazz trumpeter, brought his four-piece band and unique
brand of contemporary jazz to Memorial Hall Thursday a bit late but well worth the
wait.
A restless crowd murmured and glanced at
watches Thursday night as 8 p.m. came and
went with only the sounds of the stage crew
and Memorial Hall's usual prerecorded tripe
for entertainment. Finally, at 8:45 p.m. the
stage went dark. A flurry of 16th-notes
knifed through the aromatic haze. A
spotlight broke the darkness to reveal at
last Mr. Freddie Hubbard.
Sporting a , slight paunch, a 4-valved
flugelhorn and an echoplex at his feet,
Hubbard opened with his uptempo "Spirits
and Friends" ("written in memory of the
great John Coltrane"). With his flugelhorn
mike output set to reverb, the effect was that
of an electric guitar echoing Hubbard's
notes. The head of the tune featured an
exciting cascade of descending chords
handled by flugelhorn and tenor sax.
Soloing in mid-song without
electrification, Hubbard displayed
remarkable technique as he let loose with a
series of minor-third lip trills and dizzying
runs. After a competent display of keyboard
artistry by George Cables. Carl Burnett took
over at the drums. Although a drumstick
dropped, Burnett's intensity did not, and his
display of complicated polyrhythms won
spontaneous applause. Burnett's tight
energetic drum work never tired throughout
the evening.
The best thing Hubbard has going for him
is his ability to communicate through his
horn which is what jazz is all about. In
"First Light", a piece from Hubbard's album
of the same name and one beginning with no
meter but shifting to a latin beat, the
Memorial audience got one of its best looks
at Hubbard the communicator. Following a
long, full-range sax excursion by Carl
Randall Jr. whose solo was signalled by
Hubbard unexpectedly so the latter could
gather his strength Hubbard assumed his
usual uncomfortable-looking stance (arched
sideways to his left, knees flexed) and began
playing, stopping momentarily to scratch,
then resuming with an electric waterfall.
Suddenly Hubbard jumped up and down
excitedly, motioning at his group as if to say
"Come on guys, let's cook." Returning to the
mike, Hubbard jumped octaves in surprise,
laughed at the predominantly-white
audience, exclaimed "Hey. Hey you out
there!", suggested maybe he was not corny
enough for us, then wooed us with plaintive
pleas, ending finally in the soft whisper of a
woman saying, "Yes." All this with a 4
valved flugelhorn.
Hubbard whose exuberance apparently
had a little previous help clowned around
and apologized for his delay before
launching into Stevie Wonder's "Black
Maybe", a ballad whose slow flute
introduction by Randall preceeded
Hubbard's talking, growling horn."Put It In
Your Pocket", a funk piece, included short
Hubbard screams and an inane Hubbard
vocal. Simultaneous improvisation by
Hubbard and his band gave way to keyboard
and drum solos.
Introducing "Ebony Moonbeams",
Hubbard suggested "That must be what's
happening tonight the moon must be
funny", a remark directed at an incompetent
spotlight operator. A short flute intro and an
ambitious Hubbard solo were followed by
the electric piano work of Cables, who could
not remain seated while playing for more
than a few seconds at a time. The Corea-like
"Breaking Point" ended the first half of the
concert and gave us our first glimpse at the
talents of conga player "Brother Sa."
Following a half-hour intermission.
H ubbard jogged out on stage and around the
drum set, glared at the audience and yelled
"No CaYina," then waited for response. The
crowd twittered; Hubbard smirked and
added. "I like North Carolina. I think 111 go
to school here and learn some v hite history."
Putting his clowning aside, Hubbard
broke into "The Windjammer" ("written by
me a few days ago, and these cats know it
already") making good his earlier promise
that he would use a trumpet the second half
and "play louder." Hubbard's echoplex was
now wired directly to his horn's mouthpiece,
the electric effect being turned on and off
during his solos.
Hubbard's full, rich trumpet tone was a
joy to hear. The "infinite echo" effect,
exciting on record, can only be described as
mind-blowing when heard live. One feels
surrounded by trumpets in a different
dimension. Cables added plenty of
synthesizer, and Burnett watched half a
drum stick arch high in the air and lodge
itself firmly in the curtains behind his kit.
"Liquid Love", the title track from
Hubbard's latest album, found his trumpet
sounding much like a flugelhorn. "All's Fair
in Love" brought Randall's edgy sax tone to
the fore.
In his"Rhythmof Life". Hubbard offered
more lip trills and some distinctively modern
improvisation, culminating in a single
electrified note held out into a long climax.
The group (rounded out by a bassist who
played competently but offered no solos) left
the stage to allow Brother Sa an extended
conga solo. Head rocking back and forth.Sa
displayed the African drum rhythms that
form the roots of jazz. Grasping one drum
between his knees, the pitch could be raised a
half-tone by lifting. This long, energetic
display of palmistry won enthusiastic
applause before Hubbard returned to
scream out the ending.
Finally. "Lost Dreams" gave the soloists a
chance to stretch out with some modal
playing beneath a vamping tonic
subdominant background. Hubbard
clowned while sax and synthesizer shared
honors. Hubbard's dials turned and switches
flicked as his flugelhorn became frantic.
Alter three hours of music, the evening
closed with a refrain of "Breaking Point."
While some may dismiss Hubbard's
hardware as gimmickry, no one can deny the
excitement of his electrified passages. Such
segments are purposeful and form an
integral part of his solos: yet still, the ratio of
unampiified to amplified playing remains
great. Always innovative. Hubbard, after
graduating from Art Blakey's Jazz
Messengers, became a leading exponent o$
"free jaz" (no meter, no key) in the 60V
before turning to rock and electronics as his
medium for the seventies. Surely. wherecr
jazz may go. Freddie Hubbard is likely to be
at the head of it.
n
- (South Square
and 9:15 p.m.
Cs
2
m
a
On Campus
Laura (Alternative Cinema. Shows at 7
and 9:30 p.m. Tuesday in 101 Greenlaw.
Admission: $1.25.)
The Bank Dick (Alternative Cinema.
- Shows at -7--and '9:30 p.m. Thursday in 101
Greenlaw. Admission: $1.25.) 1
Diary of a Country Priest ' (Union
Free Flick. Show at 8 p.m. Wednesday in the
Great Hall.)
- Chapel Hill
- The Magic Flute (Varsity. Shows at 2,
4:30, 7 and 9:30 p.m. Admission: $2.25.)
Banjoman (Ram I. Shows at 2:50, 5,
7: 10 and 9:20 p.m. Admission: $2.)
Blue Water, White Death (Ram 2.
Shows at 3: 5, 7 and 9 p.m. Admission: $2.)
' m&MH0'MfVov,& (RJiitf 31'Sfibws at
2:4575 antf $io p.m. Admission? $2.)
Sherlock Holmes' Smarter Brother
1 (Carolina White. Shows at 3:45, 5:50, 7:15
and 9 p.m. Admission: $2.25.)
Lucky Lady (Carolina Blue. Shows at
2:30, 4:45, 7 and 9: 15 p.m. Admission:
$2.25.)
The Legend of Bigfoot (Plaza I.
Shows at 3:05, 5:05, 7:05 and 9:05 p.m.
Admission: $2.25.)
Dog Day Afternoon (A very uneven
film about a bank robbery, full of insincere
attitudinizing. ( Plaza 2. &hows at 2: 1 5, 4:40,
7:05 and 9:30 p.m. Admission: $2.25.)
The Romantic Englishwoman (Plaza
3. Shows at 2:40, 4:55, 7:10 and 9:25 p.m.
Admission: $2.25.)
Durham
. The Magic Flute (Center 1 . Shows at 8
p.m. Admission: $2.50.)
The Legend of Bigfoot (Center 2.
Shows at 7:20 and 9 p.m. Admission: $2.50.)
American Graffiti (South Square
Cfnem'a"-1 : Shows "at -'7:45 : and 9:40 p.m..
ii Admjss7orTr$X50.) " " " ' ' '
The Return of the Pink Panther
(South Square Cinema 3. Shows at 7 and
9 p.m. Admission: $2.50.)
Dog Day Afternoon -
Cinema 3. Shows at 7
Admission: $2.50.)
The Man Who Would Be King (South
Square Cinema 4. Shows at 7:10 and 9:30
p.m. Admission: $2.50.)
Heaire
Husic
The National Shakespeare Company
presents Much Ado About Nothing at 8
p.m. today in Memorial Hall. Tickets are
available for $2.50 at the Union desk.
The N.C. Symphony Orchestra
performs at 8:15 p.m. Feb. 3 and 4 in
Memorial Auditorium, Raleigh. Tickets are
available for $2 at the Union desk.
The Dave Brubeck Quartet presents a
silver anniversary concert at 7:30 and 10:30
p.m. Feb. 18 in Memorial Hall. Tickets are
available for $5 at the Union desk.
Olio
The Morehead Planetarium presents
Laserium, a special one-hour cosmic-laser-light-show.
Shows are at 9:15 and 10:30
today-Sunday, with late shows at midnight
today and Saturday and early shows at 4:15
p.m. Saturday and Sunday. Admission to all
shows is $2.75.
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