Open Sesame
Recorded in 1960, Freddie Hubbard's Open Sesame is not only a very good CD: it dramatizes history in the making. The trumpeter was not unknown then, but he was still in his early years; so was pianist McCoy Tyner, for whom a momentous association with John Coltrane was just around the corner. Indeed, the best-known musician at the time of this recording was bassist Sam Jones, and while he went on to bigger things with Cannonball Adderley and then Oscar Peterson, it was Hubbard and Tyner who would emerge as unambiguously major figures. That by rights should also have characterized tenorist Tina Brooks, but this superb player (his work on "But Beautiful" here is exquisite) never got the recognition he deserved, dying almost forgotten in 1974 at the age of 42. Further highlights include the leader's "Hub's Nub" and the two takes apiece of the title track and "Gypsy Blue," both excellent compositions by Brooks. Mention should also be made of drummer Clifford Jarvis, a young lion steeped in Blakey, and Rudy Van Gelder's predictably flawless engineering. The music both invigorates and enchants, and its reappearance, handsomely packaged, is most welcome. Richard Palmer
Open Sesame
Recorded in 1960, Freddie Hubbard's Open Sesame is not only a very good CD: it dramatizes history in the making. The trumpeter was not unknown then, but he was still in his early years; so was pianist McCoy Tyner, for whom a momentous association with John Coltrane was just around the corner. Indeed, the best-known musician at the time of this recording was bassist Sam Jones, and while he went on to bigger things with Cannonball Adderley and then Oscar Peterson, it was Hubbard and Tyner who would emerge as unambiguously major figures. That by rights should also have characterized tenorist Tina Brooks, but this superb player (his work on "But Beautiful" here is exquisite) never got the recognition he deserved, dying almost forgotten in 1974 at the age of 42. Further highlights include the leader's "Hub's Nub" and the two takes apiece of the title track and "Gypsy Blue," both excellent compositions by Brooks. Mention should also be made of drummer Clifford Jarvis, a young lion steeped in Blakey, and Rudy Van Gelder's predictably flawless engineering. The music both invigorates and enchants, and its reappearance, handsomely packaged, is most welcome. Richard Palmer
