Category: Hubbard Freddie

Two-part 1973 Freddie Hubbard interview

freddieHubbardHere are two 1973 interviews by Les Tomkins with jazz trumpeter Freddie Hubbard from the UK National Jazz Archive. Hubbard discusses Bix Beiderbecke, his early days in NYC, playing with Quincy Jones, and plenty else. Here Freddie talks about the business side of jazz:

There was a period in New York where it was kinda free. I mean, you got a bunch of great guys together in the studio and you just played. And the man who made the record made all the money. So it got to the point, everybody said: “We deserve more money.” Well, all record people are very money–conscious. They like the music, but it always ends up into a capital gain thing. Which is good, but in the meantime the artist doesn’t realise his gains.

See, people take you for granted—the fact that you’re out there and you’re more interested in creating something righteous that you believe in. Nowadays. it’s a thing of: “If I’m going to create this, then I should be rewarded.” You’ve got musicians now who are more business–minded.

Click here to read Interview One: You Have to Change With the Times 

Click here to read Interview Two: Melody is as Important as Ever

—Peter Blasevick

Freddie Hubbard 2001 Downbeat Interview

freddieHubbardFrom Ted Panken’s great Today is the Question:

In 2001, I had the opportunity to spend a couple of hours with the late Freddie Hubbard for a DownBeat profile. It took a bit of negotiating, but Freddie met me at the appointed hour, and spoke at length about his life and times. In this case, I have to depart from the  “raw and uncut” policy I’ve followed for the most part on the blog, and will decline to print the verbatim conversation—it’s a bit too real and profane, and he named names. But I was able to distil from it for print what I thought was a reasonably compelling first-person account, which I offer on the occasion of his 75th birth anniversary.

“Wes Montgomery lived two blocks from me, across the railroad tracks, and to get to the conservatory I had to pass by his house. I’d hear Wes and his brothers rehearsing, and one day I stopped and went in. At the time, everything I knew was reading, and it amazed me how they were making up the music — intricate arrangements, not jam stuff — as they went along. After that, I was at his house every day, and then Wes started inviting me to a Saturday jam session in Speedway City. The Montgomery brothers didn’t care about keys. At home I was practicing in F or B-flat, but at the jam session they’d play in E and A — the funny keys. Practicing in those keys opened me up, made me a little better than most of the cats.”

Click here to read Freddie Hubbard 2001 Downbeat Interview