Tag Archives: Freddie Hubbard

Anatomy of THE Groove: “Zanzibar” by Billy Joel

Billy Joel is at the core of how I tend to relate to pop/rock music. A Bronx native, Joel’s music career was less inspired by his father being a classically trained pianist than in his mother pushing him into taking piano lessons. This cost him the credits to graduate from high school-playing in a piano bar just a bit too long so it seems-trying to earn money to support his family. He eventually joined up with a band called The Hassles. He and the bands drummer Jon Small ended up forming Atilla and releasing one album in 1970. After the duo broke up,he began his solo career with the 1971 album Cold Spring Harbor.

As his music developed,particularly after early hits such as “Piano Man” and “Captain Jack” after being signed to Columbia,Joel’s sound began to take on even stronger elements of the Broadway show tune and pre rock jazz styled pop that had always been an influence on him. This culminated in his 1977 release The Stranger,produced by the late Phil Ramone. Its followup 52 Street was part of my moms 8 track collection. And upped the jazz influences even higher. One song from the album that stood out for me on that particular musical end is a tune called “Zanzibar”.

After an opening piano flourish, Joel is dueting with himself on both a melodic and a bass piano arpeggio-with Liberty DeVito’s drums keeping in time with the rhythmic piano for the refrains. Dancing around this are a high electric piano and round bass line. The chorus returns to the more rhythmic piano style and bursts of rock guitar from Steve Khan. Joel duets with piano and a backwards keyboard loop before the bridge goes into a straight swinging bop jazz arrangement with Freddie Hubbard soloing on flugelhorn and trumpet. After a choral/refrain repeat,this swinging solo fades out the song as well.

 

After hearing this song enough for so many years, it has a quality of the progressive jazz rock being done by both Gino Vannelli and Steely Dan during the late 70’s. That Steely Dan influence-especially Hubbard’s trumpet solo,has been discussed by many people. Joel’s elaborate melodicism and way with a strong,funky rhythmic groove also maintained the Steely Dan like cryptic lyric regarding trying to pick up a sexy waitress at a sports bar. It also showcases,with both its writing and choice of musicians, how funky and soulful an artist like Billy Joel can be with a strong jazz base to their musical sound.

 

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Anatomy of THE Groove: “Skagly” by Freddie Hubbard

Freddie Hubbard was one of the most important trumpet players of the post bop era. His many interactions in music had him involved with some of the most important developments in jazz throughout the 60’s and 70’s. Running from playing with Wayne Shorter,replacing Lee Morgan in Art Blakey’s Jazz Messengers and beginning to lead his own groups. One of his best known works is 1970’s Red Clay-not only his first for the CTI label but the very first release Creed Taylor’s label ever put out. After several successful releases there,Hubbard began recording for Columbia.

Hubbard’s most famous album from his post bop period is Ready For Freddie from 1961. And so far,the only Freddie Hubbard album I have in any format. He’s an artist I’ve heard many times,but neglected just as much in terms of album purchases. He actually made some amazing contributions to the jazz-funk genre in the 70’s as well. That’s especially true for his mid to late 70’s Columbia albums. Always playing along with the best musicians of the era,one perhaps unsung example of Hubbard’s music in this period is the epic title song for his final Columbia album from 1979 entitled Skagly.

Hubbard,saxophonist  Hadley Caliman and trombonist Phil Ranelin start this song out with a bluesy horn fanfare-with drummer Carl Burnett marching right to their beat. Burnett and percussionist Paulinho Da Costa then set up a Latin funk rhythm wherein Hubbard, guitarist Jeff Skunk Baxter, bassist Larry Klein, Billy Child’s Fender Rhodes and George Duke’s Clavinet all exchange a think rhythmic interplay together. Hubbard goes on an extended 8+ minute solo-expanding in melodic intensity and loudness before solos from Klein and Baxter lead up to the fanfare brings it all to an abrupt stop.

“Skagly” is a wonderful long form example of hard pop horn solos playing along with strong,live band jazz/funk interplay.  George Duke and drummer Carl Burnett in particular knew exactly the kind of rhythmic environment that would be both jazzy and funky enough for Hubbard to literally blow his horn over. Its definitely Hubbard’s show in terms of the solo,and nobody playing on this song ever forgets that. That may be way it is so live band oriented and less electronic than much jazz/funk of the time. That gives the song a certain distinction as late 70’s jazz/funk  built heavily around a trumpet solo.

 

 

 

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