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Here is an article that I wrote for the Los Angeles Jazz Scene in Jan. 2009 shortly after
Freddie Hubbard's death. In addition to the summary of the great trumpeter's life, there
is a very interesting interview that I had with Hubbard back in 1979, originally for Record
Review Magazine. I think that it captures his personality well and contains some
interesting comments.
FREDDIE HUBBARD – A RETROSPECTIVE AND AN INTERVIEW FROM 1979
By Scott Yanow
Freddie Hubbard was one of the greatest jazz trumpeters of all time, even though his
career largely ended after 1992. He had no real competition during the 1970s and ‘80s
and, while some of his recordings were throwaways (there will never be a clamor to
reissue such commercial duds as Windjammer, the Love Connection, Skagly and
Splash), he recorded dozens of classic gems. He had beautiful and distinctive tones on
trumpet and fluegelhorn, was a master of advanced hard bop, and even held his own in
avant-garde settings. One of my fondest memories of him is seeing him open his set at
Catalina Bar & Grill in 1989 by playing 40 uptempo and blazing blues choruses on a
raging version of his “Byrdlike.”
He was born April 7, 1938 in Indianapolis. He started out playing the mellophone,
trombone, tuba and French horn before settling on the trumpet in high school. Hubbard
grew up in poverty but developed quickly as a musician, particularly after he started
playing with Wes Montgomery who, during the 1950s, was a local hero in Indianapolis.
Hubbard made his recording debut with Wes in Dec. 1957 and, after a brief period in
college, he moved to New York the following year.
Influenced by Clifford Brown and inspired by Lee Morgan, Hubbard was flexible enough
to play and work in his early days with Eric Dolphy, Philly Joe Jones, Slide Hampton, J.J.
Johnson, the Quincy Jones Big Band and Sonny Rollins. Although a fiery straightahead
player, he was the only musician to be on both Ornette Coleman’s Free Jazz and John
Coltrane’s Ascension albums, the two most famous group improvisations of the 1960s.
He also appeared as a sideman on such significant albums as Eric Dolphy’s Outward
Bound and Out To Lunch, John Coltrane’s Ole, Herbie Hancock’s Takin’ Off and Maiden
Voyage, and Oliver Nelson’s Blues And The Abstract Truth, not to mention records led
by Paul Chambers, McCoy Tyner, Bobby Hutcherson, Andrew Hill, Dexter Gordon, Sam
Rivers and Wayne Shorter. Hubbard began recording as a leader for Blue Note in 1960
when Miles Davis told producer Alfred Lion to record him, and he worked with Art Blakey’
s Jazz Messengers during 1961-64. He wrote such standards as “Up Jumped Spring,”
“Little Sunflower” and “Byrdlike.”
Other than stints with Max Roach and Sonny Rollins, Hubbard mostly led his own groups
from 1966 on, including a great post bop quintet with altoist James Spaulding. He had
artistic and commercial success with his work for the CTI label during 1969-74, most
notably the albums. Red Clay, Straight Life, First Light, and Stanley Turrentine’s Sugar.
But then, after switching to Columbia, his career became directionless. His recordings
for a time alternated between revisits to past glories and completely unlistenable
commercialism. In the 1980s he recorded some decent jam session-style albums for
Pablo and a pair of fine albums with fellow trumpeter Woody Shaw, but his growth
seemed stunted despite his brilliance. He was still the best trumpeter but his recordings
fell short of his earlier work and often lacked inspiration and purpose. Still, he was
capable of greatness at any moment, until 1992.
A growth on Hubbard’s lip had to be surgically removed and he never recovered. Part of
the problem, I suspect, was that he often neglected to practice and he simply blew out
his chops without warming up. Instead of being at his prime in the 1990s, he had to stop
playing altogether. Although he was still just in his mid-fifties, his career was basically
over. There were occasional appearances with old friends and, in recent times, he even
recorded with trumpeter David Weiss and the New Jazz Composers Octet but he was
only a shadow of what he had been.
On December 29, 2008, Freddie Hubbard passed away at the age of 70. He will not be
forgotten and ranks in the history of jazz with such trumpet masters as Louis Armstrong,
Roy Eldridge, Dizzy Gillespie, Miles Davis, Clifford Brown, Lee Morgan and Woody
Shaw..
A long time ago, back in 1979, I interviewed the trumpeter for Record Review Magazine.
I will always remember Hubbard walking into the offices of Columbia Records with an
open whiskey bottle in one hand and a lit joint in the other! He was in a good mood and
talked extensively about his early days, while dismissing some of his more recent work
for Columbia. This 30-year old interview captures his personality and has some
surprising moments.
SCOTT YANOW: What is the earliest music that you remember hearing?
FREDDIE HUBBARD: I heard music all of the time because my brother Ernie was a
bebop fanatic. It was beautiful that I just fell into it.
LOS ANGELES JAZZ SCENE: Was the trumpet your first instrument?
FREDDIE HUBBARD: Well I played the piano quite a bit. I started on the trumpet when I
was 11.
LOS ANGELES JAZZ SCENE: What attracted you to the trumpet?
FREDDIE HUBBARD: I just liked the way it sounded. It was the loudest instrument and
intense. I like the feeling of the mouthpiece up against my lips because, when you play
the trumpet, it buzzes. It vibrates your whole body. When you look up there and see a
Maynard Ferguson, a Miles Davis, a Freddie Hubbard, you say, “Damn! The guy’s
buzzing all over the place.” (Laughs)
LOS ANGELES JAZZ SCENE: You played other instruments, didn’t you?
FREDDIE HUBBARD: I played the E-flat horn, the French horn, the sousaphone and a
few others. But that was just to do something. I wasn’t serious about any of them but the
trumpet.
LOS ANGELES JAZZ SCENE: Did you ever want to do anything else but be in music?
FREDDIE HUBBARD: Play basketball, but you know I can’t do that now. (Laughs) My
knee’s all messed up.
LOS ANGELES JAZZ SCENE: You started trumpet lessons while in junior high school.
Did you play in school bands?
FREDDIE HUBBARD: Yes, but my greatest thrill in those days was being able to play
with the guys in town: James Spaulding, Wes Montgomery, the Montgomery Brothers
(Monk and Buddy), Larry Ridley. It’s good to see all these guys grow, all in different
ways. Of course Wes is gone.
LOS ANGELES JAZZ SCENE: Was there a good jazz environment in Indianapolis when
you lived there?
FREDDIE HUBBARD: Indianpolis was a fantastic city in that way. It attracted a lot of
people. Indianpolis is a city that is geared for conventions, so a lot of people came
through. I got much encouragement from musicians, not only ones that lived there but
also those that passed through town. There was always somebody playing there: Jazz
At The Philharmonic, the Newport shows, and guys like James Moody and Woody
Herman.
LOS ANGELES JAZZ SCENE: Did you listen mainly to jazz at the time?
FREDDIE HUBBARD: Yeah, all of that other stuff ain’t nothing. I liked some classical
music. Classical is something that goes in the archives on the shelf, something to dig up.
LOS ANGELES JAZZ SCENE: Your first recordings were with Wes Montgomery. What
was Wes like?
FREDDIE HUBBARD: I was about 18 when I hooked up with him. He was always much
older acting. But the man was just a natural genius. He’d play so pretty and make up
some new stuff. Man! I couldn’t wait for the weekend to get in a jam session with that
guy. Those are things that keep you going. ‘Cause I lived in the ghetto; wasn’t anything
happening. We were poor. I was fighting my way through the crowd. I was trying to get
enough money and enough time to study books to get out of there. But then, all of a
sudden, Wes Montgomery came into my life. That got me totally into music and from
then on, that’s all I’ve been doing.
LOS ANGELES JAZZ SCENE: How did you happen to leave Indinapolis in 1958?
FREDDIE HUBBARD: I couldn’t wait to get out of there. It is one of the most backward
cities in the world. I mean, for music it was cool, but the prejudice was there ‘till the
seventies. I mean, I was dating white girls. They ran me out of there. They once locked
me up for suspicion of burglary. They said, “Mr. Hubbard, you’d better leave if you’re
not going to act right.” I said, “NO, I’m not going to act right, not for this. Let me out of
here!” I couldn’t wait. I used to pray to the Creator, “Let me out of this place!” I went to
mixed schools but it was so bad. That’s the only thing I’m a little bitter about: my early
childhood. I went through some changes you wouldn’t believe. I had to be good to get
out of there. But that’s over.
LOS ANGELES JAZZ SCENE: How did you finally get out?
FREDDIE HUBBARD: I just packed my stuff and I went to New York. I had a place to
stay. I hung out in the streets and found some good musicians. They saw that I was
serious, practicing all of the time, getting my playing together.
LOS ANGELES JAZZ SCENE: Was it difficult to find work at first?
FREDDIE HUBBARD: No, not that difficult although it didn’t pay much. If you’re serious,
you’ll get some gigs eventually.
LOS ANGELES JAZZ SCENE: How did you happen to meet Ornette Coleman?
FREDDIE HUBBARD: I ran into Ornette in Los Angeles in 1959. I met him and Don
Cherry. I never worked with Ornette in clubs, just on the Free Jazz record date. That
session opened up my mind and my ears to learn that there are not as many limitations
in this music as I thought.
LOS ANGELES JAZZ SCENE: Before you recorded Free Jazz with Ornette Coleman,
had you done much free improvising?
FREDDIE HUBBARD: I was working with Eric Dolphy at the time and he was very much
into that. He was such a fine musician, but being able to get your music to the people
the way you want it and getting it accepted is a very difficult task. As much as I love Eric,
I can say honestly that I love Jackie McLean’s music more. I loved Eric as a person, but
as far as playing the music that I love to hear and feel, Jackie McLean would be my
preference. Eric was a bit ahead of his time.
LOS ANGELES JAZZ SCENE: Quite a bit.
FREDDIE HUBBARD: He’d be up at 8 o’clock in the morning, go to school, study a lot
but whew! I’ll never forget the time we worked at this job in Harlem, a place called Minton’
s Playhouse. At the time, Teddy Hill was running it. I had Eric, Jaki Byard on piano,
drummer Joe Chambers, Richard Davis on bass and Bobby Hutcherson on vibes. We
played some way-out stuff. Minton’s was becoming a soul joint at that time with organs
and tenors. We totally struck out. The boss said, “Will you quit playing that ju-jitsu music
and play me some blues?” Teddy Hill said to me, “Boy, you can come back but don’t
you ever bring him back, even if you have to break his foot,” meaning Eric. It was like
that. Eric never had much money. I would take other kinds of jobs where he wouldn’t.
LOS ANGELES JAZZ SCENE: What was Eric Dolphy like as a person?
FREDDIE HUBBARD: Eric was very up. I mean, he didn’t get high or nothing. He didn’t
find out he was a diabetic until late. He was on a health kick. You have to be careful. I’ve
seen a lot of guys on ginsing kicks or becoming vegetarians. With the lifestyle they pick
and the energy they give, I don’t think a lot of them can make it long. A lot of them
should consult doctors. Eric and Coltrane would eat sunflower seeds all of the time and
honey, nuts and dates. That might be good if you’re sitting around but if you’re blowing
as hard as they did, you can’t make it. I can’t.
LOS ANGELES JAZZ SCENE: You signed with Blue Note Records in 1960.
FREDDIE HUBBARD: That saved me. I was starving to death. Talking about beans and
cornbread, I hadn’t even come up to that. I was thinner than you. One Sunday, Alfred
Lion sent Ike Quebec to get me. I was sound asleep, so when he knocked I answered
the door angry, thinking about how hungry I was. Ike Quebec said, “Alfred Lion wants to
sign you to a contract.” I was happily shocked. I’d been around New York for awhile,
even been with Sonny Rollins a little, so they knew I could play, but it was quite a
surprise. So I signed with Blue Note and I was able to get an apartment, a good car, and
made the mistake of marrying at 22. I have a son, Duane, who’s 13.
LOS ANGELES JAZZ SCENE: How did you happen to join the Jazz Messengers in 1961?
FREDDIE HUBBARD: I was playing with Quincy Jones regularly. Art saw me at a few jam
sessions so when Lee (Morgan) decided to go on his own, Art gave me the job.
LOS ANGELES JAZZ SCENE: What did you learn from Blakey during your three year
with the Jazz Messengers?
FREDDIE HUBBARD: How to swing. You had to swing to play with Art. He’d swing awful
hard, no jive.
LOS ANGELES JAZZ SCENE: What are some of your memories of Lee Morgan?
FREDDIE HUBBARD: Crazy and cocky. He was a natural. I never saw any man do the
stuff he did, do what he did and play. He used to scare me to death. We played some
gigs together and he was always late, but he’d blow me out. I was playing slicker than
hip lines but he would blare me out. He had a bigger sound somehow at the time. I
started getting my chops together after working with Art, it made me strong.
LOS ANGELES JAZZ SCENE: Why did you leave Art Blakey?
FREDDIE HUBBARD: I was ready to go on my own because I think I exhausted that
vehicle. Art wasn’t letting me expand and grow. I always liked Elvin Jones and Tony
Wiliams, that kind of drummer. Art is very set in his own style and I didn’t want us to get
in each other’s way. I figured I could write more too because with that band, Wayne
Shorter was the writer.
LOS ANGELES JAZZ SCENE: How did you originally meet John Coltrane?
FREDDIE HUBBARD: I met him in a club called Count Basie’s at a jam session around
1960. He invited me to his place and advised me to start practicing more. And I did, with
him. He taught me a lot, such as how to get through chords and different modes and
scales.
LOS ANGELES JAZZ SCENE: Did you play with him much in clubs?
FREDDIE HUBBARD: Just a couple of times. Mainly we just practiced.
LOS ANGELES JAZZ SCENE: How did the Ascension album come about?
FREDDIE HUBBARD: (Laughs) Hey man, you know what? He called me to make this
record in 1965. I thought, “Wow, this will give me the chance to play something hip.” But
after he named all of the guys that were on the date, I got scared: Archie Shepp,
Pharoah Sanders, all of the screamers. So I got in the studio and when the recording
started, it was funny. Ascension, by that ‘Trane was talking about ascending, the music
going up. People thought it was total freedom, but it was built on four scales. We used
each degree of a scale. We would all hit this note and we would play whatever we
wanted to off of that note, whatever we thought of. Just one note, it wasn’t a chord. But
if you dug the scale, ascending, you would know where to take it. It became something
very interesting, but it sounds kind of chaotic because everyone was playing at the
same time. When we started, I had to laugh. I thought “Ain’t nobody going to listen to
this!”
LOS ANGELES JAZZ SCENE: How did you feel being in the studio when Ascension was
being recorded?
FREDDIE HUBBARD: I felt good. If you were a part of that scene, it wouldn’t seem so
weird. See, I’d played with those cats before. I just thought it’d be more fun to play
regularly with Wayne Shorter or Herbie Hancock rather than those musicians. They
were the guys from the Village, trying out new ideas, starving. I would hang with them
but I always wanted to work. Because when I don’t work, I just get fat.
LOS ANGELES JAZZ SCENE: What are some of your memories of John Coltrane?
FREDDIE HUBBARD: Oh man, such a beautiful cat! He had a halo around him; he had
found peace. His music was so electrifying. He was such a nice cat. Usually someone
like him would be cocky and brash, but here’s a man making all of this music who was
humble and so sweet. He was just the opposite of someone like Miles Davis, who would
tell you to go jump in the lake. He was an inspiration just to be around.
LOS ANGELES JAZZ SCENE: How long were you with Sonny Rollins? You recorded
East Broadway Run Down with him in the mid-sixties.
FREDDIE HUBBARD: I wasn’t with Sonny too long. I don’t think he really wanted a
trumpet player because he liked to play real free, come in when he wanted to. I worked
with him for eight months and I dug his music, more than I dug ‘Trane as far as me
being able to relate to it. Sonny Rollins’ style was so much more earthy. But ‘Trane had
so much technique and practiced so much that no one was ever able to keep up with
him.
LOS ANGELES JAZZ SCENE: You signed with CTI in 1969. Which of the albums that
you made with that label is your favorite?
FREDDIE HUBBARD: Red Clay was actually my best. First Light was enjoyable because
Don Sebesky was a beautiful arranger. That is one of the few records I’ve done where
everything fit.
LOS ANGELES JAZZ SCENE: Was that your idea, to record with a large group?
FREDDIE HUBBARD: Well it was actually Creed Taylor’s idea. I didn’t know Sebesky.
Don took six months working on the arrangements. Creed had a good ear. He
developed a good sound for his musicians, and they were able to later go out on their
own as big names including Grover Washington Jr, George Benson and Deodato.
LOS ANGELES JAZZ SCENE: Why would you say that CTI lost all of its top artists,
starting with you in 1974?
FREDDIE HUBBARD: Creed started to expand too fast. He is one of the best producers
we have. But Creed started buying warehouses, trying to be a heavy independent. So I
imagine he found himself in competition with all of the larger companies. It got so he
couldn’t pay the artists. The money he was putting into the business should have gone
to the musicians. I was playing but not getting any money. So I was gone.
LOS ANGELES JAZZ SCENE: When you switched to Columbia, your first couple of
records, High Energy and Liquid Love, were pretty similar to your CTI dates.
FREDDIE HUBBARD: Yeah, but they sounded different. I had some California cats on
them. I moved out to California but where do you go out to jam? I mean at these clubs
you see these studio cats, they come out to get drunk. I come out to play. But at least I
have more time to relax and I dig it for right now. I may move, I don’t know.
LOS ANGELES JAZZ SCENE: Why did the style of your records change and become
much more commercial on Windjammer and Bundle Of Joy? Did you have much control
over it?
FREDDIE HUBBARD: Windjammer was Bob James’ date. That wasn’t my date. He
arranged it so it sounded like his session, which was very slick. That won’t happen
again. I like to change my music all of the time. That’s what people don’t realize about
me. I don’t want to play just one way. Whatever I feel at that time that I need then I want
to be able to do it. I guess it’s hard for radio people to adjust. I’m just looking for
something that will get on as well as please me. I’m not going to say I don’t want any
money; I do. I know that if I played rock, I could make more money, but I have to get the
satisfaction from the music too. But people want me to play the same way all the time.
LOS ANGELES JAZZ SCENE: Were you happy with the results of the V.S.O.P. tour with
Herbie Hancock?
FREDDIE HUBBARD: Some of it I was and some of it I wasn’t. Those guys acted like
they expected Miles Davis to be there, but it was me instead. I let them know that I was
Freddie Hubbard not Miles.
LOS ANGELES JAZZ SCENE: What made you decide to switch on your most recent
album, Super Blue, to a more straightahead jazz style from the previous commercial
albums?
FREDDIE HUBBARD: I was over in Maui on vacation and something inside me said, “Do
a record that you’d really like.” When I came back, people at Columbia reacted by
saying, “What, jazz? Get out of here.” They wanted something that would put me in the
top 20. But I got my way. I picked out some tunes and I elected to play with musicians
more my caliber. I used guys that can really play and know something about the music. I
figured that for once during the time I’ve been with Columbia, I would get some guys
who weren’t so much into electricity and could play some straightahead jazz.
LOS ANGELES JAZZ SCENE: It seems to inspire you more.
FREDDIE HUBBARD: Yeah, but it becomes economics too. Even if I wanted to get the
guys that I had on the album, I couldn’t afford them, so it’s like a one-shot deal. Maybe
we could do a short tour, but it is highly improbable. I can’t see taking Ron Carter on the
road.
LOS ANGELES JAZZ SCENE: So many times record company executives say that jazz
won’t sell so they don’t promite it. But by not promoting it, they guarantee that it won’t
sell.
FREDDIE HUBBARD: They could sell it if they promoted it, but that’s something they don’
t understand. Of course I have a long history of being misunderstood. (Laughs) But that’
s not my problem. My problem is trying to make some good music. One of my
satisfactions in life is being able to take different harmonies and put them together with
real feelings; to improvise and reach the stars. I told Columbia, “You wanted me as an
artist. I’m one of the greatest trumpet players in the world.” I’m telling you, if they don’t
promote me, I’m gone. I’ll do something else. If they don’t like me, let me go. I’ll go
somewhere else where they will like me. I don’t think I’ll starve. I’ll go to work with Buddy
Rich. It’s cool, they can play.
I get more satisfaction out of playing music like on Super Blue and Red Clay than on
most of my other Columbia albums. When I’m playing it, I have more of a feeling
because that’s my roots. But most of the guys in my group are younger and don’t know
anything about playing with Miles or Sonny Rollins or Bud Powell. I have to try to explain
it to them. I found that by mixing it up a little bit, combining my music with the so-called
music of today, it becomes more understandable to them. I’m thinking of recording a
disco version of a tune I like, “The Look Of Love.”
LOS ANGELES JAZZ SCENE: Since you and Woody Shaw are on the same label, do
you think you’ll ever record with him?
FREDDIE HUBBARD: Yes, I do someday. I guess he thinks he’s about ready to play with
me; he thinks he’s good enough now. I’m not gonna let anybody catch up with me, if I
ever get paid. (Laughs) It’s like cats telling me, “Man, what do you think of Miles Davis?
You’re better than him.” I say, “How can I be better than Miles? He played with Yardbird
and all those cats. Bird taught Miles how to play. You expect me to say that I’m better?”
LOS ANGELES JAZZ SCENE: Ever think of recording with Dizzy Gillespie? You’ve
played with him a little bit at jazz festivals.
FREDDIE HUBBARD: I don’t know about me playing with Dizzy. I played with him once
and he scared me to death. Dizzy’s style is so unique that it makes me sound like a
gargling baby playing besides him. I never want to get into that. (Laughs) I mean, just
the way he fingers the trumpet. I’d rather just listen to Dizzy.
LOS ANGELES JAZZ SCENE: If you could put together an all-star group of your favorite
players around today, who would you most enjoy playing with?
FREDDIE HUBBARD: I’d like to get Elvin Jones, Joe Henderson, McCoy Tyner and Cecil
McBee. That’d be it, the perfect quintet.
LOS ANGELES JAZZ SCENE: You were at the Montreux Festival last year. How was
that?
FREDDIE HUBBARD: My wife and I stayed at a hotel on the 27th floor overlooking Lake
Geneva. Oh it was so clean and fresh and everybody was looking good. But how long
could I stay there without doing nothing? (Laughs) I mean, you’d better have some
money.
LOS ANGELES JAZZ SCENE: What have been some of your activities during the past
year other than going to Montreux?
FREDDIE HUBBARD: I’ve been playing at a lot of colleges and taking time to attempt to
teach kids. I just recently taught some Japanese kids who came here for a week,
teaching them through an interpreter. That was weird but they dug it and were
enthusiastic. I’ve also been giving a lot of clinics. That’s a new thing for me because I’ve
never really wanted to talk about music before. I’m going to be putting out a songbook
of my tunes too.
LOS ANGELES JAZZ SCENE: Do you have many hobbies outside of music?
FREDDIE HUBBARD: I play pool. I like chess and basketball. I’m going to join a health
club since I’m not on the move out here like I was in New York.
LOS ANGELES JAZZ SCENE: What type of music do you like listening to?
FREDDIE HUBBARD: I like listening to people like ‘Trane, Miles and Herbie Hancock.
Also Chick. I’m beginning to get into Chick. I’ve played with him before. But it was
different then because when I knew him earlier it seemed like he sounded like McCoy
Tyner. But now he has his own thing.
LOS ANGELES JAZZ SCENE; Do you listen to rock music?
FREDDIE HUBBARD: Yes, I listen to Stevie Wonder. He develops and changes. Stevie
Wonder can play such hip stuff on the piano, just doodling around, making up stuff that
automatically people like and it becomes a hit. I haven’t figured out Frank Zappa yet He’
s out there, is he serious? I mean, he can write but why does he go off like that? It is for
shock value like Jagger and those guys? I know he knows about music. He wanted me
to make a record date with him. He had some way-out stuff for me. But I said no
because it didn’t fit me.
I did a record date with Billy Joel not only for the money but because I could reach a
wider audience. I played my same old style but it was on top of a rock beat. I don’t make
too many of those dates because, if the record company people see that the flugelhorn
is selling good, you know mellow Chuck Mangione, they’ll start using me as a back-up
solo man all the time which would take me away from my trumpet. I’d be making money
but I’d be going in the wrong direction. The trumpet would fly away because you can’t
stay off the trumpet too long. The fluegelhorn is easy to play, much easier than the
trumpet.
LOS ANGELES JAZZ SCENE: What about the cornet?
FREDDIE HUBBARD: I’ve played the cornet, but where are you going with that? You
have to really get close to the mike. It doesn’t carry that well. The trumpet really carries.
Actually I play the trumpet because I figure, “If Gabriel can do it, I can do it.” (Laughs)
TWELVE FREDDIE HUBBARD CDS TO GET
(listed in chronological order)
Open Sesame (Blue Note)
Ready For Freddie (Blue Note)
Hub-Tones (Blue Note)
Body And Soul (Impulse)
Breaking Point (Blue Note)
Backlash (Koch/Atlantic)
Red Clay (CTI/CBS)
Straight Life (CTI/CBS)
First Light (CTI/CBS)
Outpost (Enja)
Face To Face (Original Jazz Classics)
Life Flight (Blue Note)