Freddie Hubbard 1988 Club Date - new video!

[mcgovnor]

friends quietly employ pro tools

[Mr.Hollywood]

I've never seen anybody use protools without saying something first.

I had a conn trumpet that I played for years that had a sharp A on it. If I played it 3rd valve it was tolerable but there were times when I forgot and somebody always said something.

I remember before they had protools and the BeeGees would keep a tuner behind the glass and secretly check everyones pitch.

We all love those old Sinatra recording with Gozzo and all the rest of the greats, but listen to some of those unisons.......that would NEVER fly today.

Chris

[rich.Graiko]

[american boy]

I was subbing in Frank Fosters big band,and we were playing the Vanguard on a night that the Brass Conference was in town,and Dom Colliccio was in the club sitting there with some folks.In the section also subbing was Woody Shaw,and as we were walking up to play the last set,Colliccio asked Woody if he would like to play a Colliccio for the set..Woody played it,and he took several solos that set and SLAYED on that horn(I was standing next to him trying not to foam!)..After the set,we were walking off and a Beaming D.Colliccio asked"Well what did you think Woodrow?" And as only Woody could so eloquently phrase"I didnt dig it"..I have heard as we all have, great players that play those horns,so i`m not dogging them in any way..Just saying what I saw..pretty funny actually

[nowave]

[mcgovnor]

I was in a situation for a number of years where we recorded and then edited every session, on the spot. We used pro tools, when necessary..and we also aligned all the entrances and hits so everything was basically perfect when it left the studio.

[Mr.Hollywood]

Mike,

I did a record date for the "Palm Beach Pops" were they strangely recorded the whole orchestra EXCEPT the 4 trumpets.......

So they called in me and our buddy Scott and a couple of other guys. Bob Lapin who was a multi millionaire flew Jimmy Zack in to run things.

There was one tune with a big trumpet feature that went to me. There was a ton of rubato it, and because the whole thing had already been recorded Lapin was in the booth with me and it was hit and miss for well over an hour. He couldn't possibly conduct it EXACTLY the same way as he did a week ago. Finally I said "can't I just play this thing and you can fly it in where you need it?" And then a kid who was assisting Jimmy Zack said "sure, we could have done that an hour ago" Jimmy just shrugged his shoulders......

Makes you wonder......

[mcgovnor]

wonder? don't wonder...you heard what I sent you, didn't you?
Anyway..Hub was to hurt to really get help. He was destroyed, inside. From the time he moved out there and started hanging with the hot cats... he was looking everywhere but the right place, IMHO. As I said before, Hub had what they wanted and needed, not the other way around. But I believe he was intimidated by the whole scene..

[mcgovnor]

I don't know which Con it is, but I KNOW he played an 8b for some time. A perfect horn with a 6c, btw..Lee played one for a minute too.

[Mr.Hollywood]

The "makes you wonder....." wasn't meant for you Mike, it was meant for the engineer who had me play that fu**in thing over and over until I finally asked about "flying it in".

I'm the trumpet player, and they are the engineers, they should have known better.

CLB

Conn 8B......that's the horn all the cats went to after the Committee. Lets not forget when speaking about the 3/9, Freddie LOVED to play really long solos. Very tough on a 3/9. I had a real good friend who loved his old 8B, he said it had an extra chorus built right in.

[crzytptman]

I hear what you guys are saying, and I honor your perspective. I can't speak specifically about Freddie's 3/9. I did play a nice copper 3/9 that Chris made and handed to me at a NAMM show. I once had an adult student who bought a Chris made R37 that played good for me but was too much for him. He sold it to a guy I knew who had a worn out copper 3/9. I had played on that one as well, and it was a dog. I did not play any of these for a whole gig, but the first 2 mentioned didn't feel like I couldn't.

Anyway, I think players can learn to play a L bore if that's the sound they like. There are always trade offs, but in general as long as the instrument is well designed, balanced and constructed you can just be playing a bigger horn. I also play trombone, and it is a different physicality than playing trumpet. Just as you guys say you have less endurance as compared to a tighter setup, it implies that the playing apparatus can be strengthened to adapt to the demands of the larger instrument. If the player has a certain sound in mind for a certain manner of playing, the L bore and/or open set up may not be conducive and would be tiring to try to play that way. With the smaller and/or tighter set up, it might not be the physical challenge but the potential for tone and nuance for a different manner of playing.

There's plenty of evidence of Freddie playing his ass off on a Conn 8b, Mercury AND 3/9. My point is his physical condition had a greater impact on his ability to play.
_________________
Crazy Nate - Fine Yet Mellow Fellow
"so full of it I don't know where to start"
Horn: "just mismatched Kanstul spare parts"
- TH member and advertiser (name withheld)

[Mr.Hollywood]

Not really arguing over the large bore (that's all Maynard ever played after the 38B) Its just that Freddie played such LONG LONG LOOOOONG solos on that 3/9. In his prime Hub could keep up with any tenor player chorus for chorus that had to have wasted him on the 3/9.

Also, that bouncing the horn all over his face when he played did not help him one bit.

Moving targets are too hard to hit........

[mcgovnor]

What I meant Chris..was that they can do anything if they want to. They can and should cut and paste and fly it in where ever possible. .and some do.

[american boy]

But he did sound awesome on Portrait of Jenny sound wise on that album from the 70s..just the right touch of reverb on there too

[Mr.Hollywood]

[mcgovnor]

We would tune a little high on the second pass or set the pitch control up by 3 cents. [/i]

[gchun01]

I recall seeing a downbeat feature on Freedie in the late 70s-early 80s. He talked about the Calicchio ("this new horn") having a lot of bite to it. Sounded like that was the way he wanted to go. This was sometime in the SuperBlue period.

Then much later, maybe late 80's, I saw him in an outdoor jazz festival in Hawaii. Almost half of his solos were pedal notes.

Then a few years later at nightclub in Hawaii, there was actually another trumpet player (Mike Lewis of Buddy Rich fame) on stage with him for the entire gig. Mike had to do most of the playing.

Shame I never got to see Freddie live before all the chop issues.

[gchun01]

[quote="Mr.Hollywood"

When they want "perfect" doubling of parts. If you really want something to sound like two good trumpet players in unison then why would you want the "doubled" part played EXACTLY the same on the second pass? .....[/quote]

That double track thing with the same player often makes it sound like a synthesizer to me. In addition to tuning differently on the second pass, I've heard people using totally different mpc/horn combinations, different mics and mic placement, etc. all in an attempt to sound like a different player. I can see where that gives some tonal/textural variation, but a real effort has to be made in inflection and nuance to make it convincing. Together, different, but not too different!

[Mike Sailors]

I clicked on this thinking it would be a video of Freddie playing in a wedding band.
_________________
www.mikesailors.com

[crzytptman]

No trumpet solo on Brick House!

But check out the solo Freddie took on that Slave album.
_________________
Crazy Nate - Fine Yet Mellow Fellow
"so full of it I don't know where to start"
Horn: "just mismatched Kanstul spare parts"
- TH member and advertiser (name withheld)