Freddie Hubbard

The Jazz Messengers were called a 'school.' Blakey said bringing along young people was the jazz tradition — he launched Lee MorganLee Morganリー・モーガン, Wayne ShorterWayne Shorterウェイン・ショーター, Freddie HubbardFreddie Hubbardフレディ・ハバード, and many more.

— Art Blakey: Jazz Messenger, Leslie Gourse, 2002

Speak No Evil

Wayne Shorter · 1966

Night Dreamer

Wayne Shorter · 1964

The 1964–66 Blue Note period was when Wayne ShorterWayne Shorterウェイン・ショーター's compositional voice matured rapidly. On Night DreamerNight DreamerWayne Shorter · 1964 and Speak No EvilSpeak No EvilWayne Shorter · 1966 he established his signature 'mysterious beauty' language. Lee MorganLee Morganリー・モーガン, McCoy TynerMcCoy Tynerマッコイ・タイナー, and Elvin JonesElvin Jonesエルヴィン・ジョーンズ brought it to life.

Rosewood

Woody Shaw · 1978

Stepping Stones

Woody Shaw · 1978

Woody ShawWoody Shawウディ・ショウ extended the post-bop trumpet vocabulary through the 1970s on Blue Note, absorbing free elements while remaining grounded in the tradition. Around 1980 he brought a young Mulgrew MillerMulgrew Millerマルグリュー・ミラー into his band. Shaw died in 1989 at 44.

Speak No Evil

Wayne Shorter · 1966

Speak No EvilSpeak No EvilWayne Shorter · 1966 (December 1964) is widely cited as Wayne ShorterWayne Shorterウェイン・ショーター's Blue Note masterpiece. Freddie HubbardFreddie Hubbardフレディ・ハバード in the front line, three Second Great Quintet members (Herbie HancockHerbie Hancockハービー・ハンコック, Ron CarterRon Carterロン・カーター), plus Elvin JonesElvin Jonesエルヴィン・ジョーンズ — a dream lineup.

— Footprints: The Life and Work of Wayne Shorter, Michelle Mercer, 2004

June 24, 1982, Village Vanguard. Freddie HubbardFreddie Hubbardフレディ・ハバード Quartet featuring Ron CarterRon Carterロン・カーター on bass. Freddie HubbardFreddie Hubbardフレディ・ハバード's trumpet carries the tension and lyricism of hard bop at its peak.

— Village Vanguard, 1982

Empyrean Isles

Herbie Hancock · 1964

Empyrean IslesEmpyrean IslesHerbie Hancock · 1964 (1964) was Herbie HancockHerbie Hancockハービー・ハンコック's fourth Blue Note album, made at 25. Its "Cantaloupe Island" later became the basis for US3's sampling hit, spreading the tune well beyond the jazz canon.

— Blue Note Records: The Biography, Richard Cook, 2003

Mosaic

Art Blakey · 1961

Recorded in October 1961, MosaicMosaicArt Blakey · 1961 inaugurated the six-piece Messengers with Freddie HubbardFreddie Hubbardフレディ・ハバード, Curtis FullerCurtis Fullerカーティス・フラー, Wayne ShorterWayne Shorterウェイン・ショーター, Cedar WaltonCedar Waltonシダー・ウォルトン and Jymie Merritt. The three-horn front line opened a new chapter for the band.

— Blue Note Records: The Biography, Richard Cook, 2003

In 1960 the 22-year-old Freddie HubbardFreddie Hubbardフレディ・ハバード signed with Blue Note and debuted as a leader on 'Open Sesame.' He also played on Ornette Coleman's 'Free Jazz' that year and Eric Dolphy's 'Out to Lunch' (1964), proving fluent in both old and new languages.

— Blue Note Records: The Biography, Richard Cook, 2003

Empyrean Isles

Herbie Hancock · 1964

Maiden Voyage

Herbie Hancock · 1965

Freddie HubbardFreddie Hubbardフレディ・ハバード was the sole horn on Herbie HancockHerbie Hancockハービー・ハンコック's masterpieces Empyrean IslesEmpyrean IslesHerbie Hancock · 1964 (1964) and Maiden VoyageMaiden VoyageHerbie Hancock · 1965 (1965). His piercing tone and lyrical solos became signatures of Hancock's modal work.

— Blue Note Records: The Biography, Richard Cook, 2003

Freddie HubbardFreddie Hubbardフレディ・ハバード served in Art BlakeyArt Blakeyアート・ブレイキー's Jazz Messengers from 1961 to 1964, forming a three-horn front line with Wayne ShorterWayne Shorterウェイン・ショーター and Curtis FullerCurtis Fullerカーティス・フラー. The Messengers experience shaped his discipline and range as a player.

— Art Blakey: Jazz Messenger, Leslie Gourse, 2002

Mosaic

Art Blakey · 1961

Curtis FullerCurtis Fullerカーティス・フラー co-founded the Jazztet with Benny Golson in 1959, then anchored the trombone chair in Art BlakeyArt Blakeyアート・ブレイキー's three-horn Messengers from 1961 to 1965. On MosaicMosaicArt Blakey · 1961 his robust tone was key to the band's density.

— Art Blakey: Jazz Messenger, Leslie Gourse, 2002