Hubbard was born in Indianapolis, Indiana, and associated in his youth with various musicians in Indianapolis, including Wes Montgomery and Montgomery's brothers. Chet Baker was an early influence, although Hubbard soon aligned himself with the approach of Clifford Brown (and his forebears: Fats Navarro and Dizzy Gillespie).
Hubbard's jazz career began in earnest after moving to New York City in 1958. While there, he worked with Sonny Rollins, Slide Hampton, J. J. Johnson, Philly Joe Jones, Oliver Nelson, and Quincy Jones, among others. He gained attention while playing with the seminal hard bop ensemble Art Blakey & The Jazz Messengers, appearing on such albums as Mosaic, Buhaina's Delight, and Free For All. He left the Messengers in 1964 to lead his own groups and from that time maintained a high profile as a bandleader or featured as a special guest, but never merely a sideman.
Along with two other trumpeters also born in 1938, Lee Morgan (d. 1971) and Booker Little (d. 1961), Hubbard exerted a strong force on the direction of 1960s jazz. He recorded extensively for Blue Note Records: eight albums as a bandleader, and twenty-eight as a sideman. Most of these recordings are regarded as classics. Hubbard appeared on a few early avant-garde landmarks (Ornette Coleman's Free Jazz, Eric Dolphy's Out to Lunch and John Coltrane's Ascension), but Hubbard never fully embraced free jazz, though it did influence his playing.
After leaving Blue Note, Hubbard recorded for the Atlantic label and moved toward a more commercial style. His next label was CTI Records where he recorded his best-known works, Red Clay, First Light, and Sky Dive. By 1970, his fiery, melodic improvisation and phenomenal technique established him as perhaps the leading trumpeter of his day, but a series of commercially oriented smooth jazz albums spawned some negative criticism. After signing with Columbia Records, Hubbard's albums were almost exclusively in a commercial vein. However, in 1976, Hubbard toured and recorded with V.S.O.P., led by Herbie Hancock which presented unadulterated jazz in the style of the 1960s Miles Davis Quintet (with Hubbard taking the place of Davis).
1980s projects moved between straight-ahead and commercial styles, and Hubbard recorded for several different labels including Atlantic, Pablo, Fantasy, Elektra/Musician, and the revived Blue Note label. The slightly younger Woody Shaw was Hubbard's main jazz competitor during the 1970s and 1980s, and the two eventually recorded together on three occasions. Hubbard participated in the short-lived Griffith Park Collective, which also included Joe Henderson, Chick Corea, Stanley Clarke, and Lenny White.
Following a long setback of health problems and a serious lip injury in 1992, Hubbard played and recorded occasionally, but not at the high level that he set for himself during his earlier career.
On December 29, 2008, Hubbard's hometown newspaper, Hubbard died from complications from a heart attack suffered on November 26 of the same year.
Without a Song
Freddie Hubbard Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Without a song the road would never bend
When things go wrong a man ain't got a friend
Without a song
That field of corn would never see a plow
That field of corn would be deserted now
A man is born but he's no good no how
Without a song
And I'll get along as long as a song, strong in my soul
I'll never know what makes the rain to fall
I'll never know what makes that grass so tall
I only know there ain't no love at all
Without a song
I've-a got my trouble and woe and, sure as I know, the Jordan will roll
And I'll get along as long as a song, strong in my soul
I'll-a never know what makes that rain to fall
I'll never know what makes the grass so tall
I only know there ain't no love at all
Without a song
In Freddie Hubbard's song "Without A Song," the lyrics express the idea that music is essential for human existence. The song reflects on how life would be without music and suggests that it would not be worth living. The song begins with the statement, "Without a song the day would never end," which implies that music provides an essential element that makes life meaningful. It goes on to say that "when things go wrong a man ain't got a friend without a song," which hints at the idea that music can provide comfort during difficult times. The lyrics suggest that music has the power to lift us out of despair and renew our spirits.
The song's theme continues with the suggestion that without music, the fields would be barren, and the world would be devoid of love. The lyrics say that "that field of corn would never see a plow" and "that field of corn would be deserted now" if there were no music. The song also touches on the idea that humans are born inherently flawed but that music has the power to redeem us. The line "a man is born, but he's no good no how without a song" suggests that music has the power to transform flawed individuals into something more significant.
Overall, "Without a Song" eloquently expresses the idea that music is essential to the human experience. It reflects on the transformative power of music and the idea that life would be empty and meaningless without it.
Line by Line Meaning
Without a song the day would never end
Music has the power to extend the day and make it feel alive beyond its time.
Without a song the road would never bend
Music has the power to transform our journey and give meaning to our travels.
When things go wrong a man ain't got a friend
Music can be a friend to a man when all else fails.
Without a song
The absence of music is like the absence of life.
That field of corn would never see a plow
Music motivates people to sow and reap, to work and strive for better lives.
That field of corn would be deserted now
Without music, human endeavors would abandon agriculture, growth, and sustenance.
A man is born but he's no good no how
Without music, human existence is pointless; music gives meaning to life.
I got my trouble and woe but, sure as I know, the Jordan will roll
Music gives people hope and helps them roll with the punches of life.
And I'll get along as long as a song, strong in my soul
Music is a source of strength and comfort in times of hardship.
I'll never know what makes the rain to fall
The mysteries of nature are beyond human comprehension, but music can help us find solace in the unknown.
I'll never know what makes that grass so tall
The secrets of life are elusive, but music can help us decipher their meaning.
I only know there ain't no love at all without a song
Love is a fundamental human emotion that is amplified and made tangible through music.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Songtrust Ave, MUSIC.INFO FINLAND OY, Warner Chappell Music, Inc.
Written by: Edward Eliscu, Billy Rose, Vincent Youmans
Lyrics Licensed & Provided by LyricFind
m hampton
There is a lot of discussion on this thread about the quality of this performance. First things first: All of the players here are at the top of their game. There is a Thad Jones/Mel Lewis connection: the pianist Sir Roland Hanna had worked with that greatest of bands, as had the bassist Richard Davis AND Eddie Daniels was in the reed section alongside Joe Henderson AND Joe Farrell. (Can you imagine hearing that lineup back then?!) It is true that at times the rhythm section and soloist are not in perfect sync, but two things to remember; it doesn't last long, just a few measures or beats t most here and there, and when they eventually do play in perfecting sync. It swings like nobody's business. That is it swings harder than anybody else and the Freddie's melodic skill is so damned good that you'd have to have tin ears to not love it. I'd take the
imperfections" of this cut over most other post bop performances that lack the same spirit and energy. Freddie's sense of melody was always so strong and tone and that comes through. The energy level is unbelievably exciting. There is too much good here for me to criticize it. Jazz is an intricate improvised music and there are a lot of things that have got to come together. And they have this wonderful rhythmic call and responses in the head between Davis' bass figures and the lead. It might not always gel perfectly but jazz is not always perfect. If looked at spiritually this is a wonderful performance and that is what counts anyway,
William van Bijningen tot Oeverloos
gives it that "free" touch.. amazing jam!
bertrand ricard
his solo is just amazing!!!!!!!! my god
TheBrandon425
One of my favorite jazz performances of all-time!
Lean McHungry
Killer track, Eddie Daniels tone in 1969 is crisp and bright with just a shade of Joe.
Raef Black
you mean trying but not succeeding.. fail
Frank Feldman
I'd give you most of the CTI for this one track, what superb playing. On a real tune.
covecandraw
Just discovering this 2018, so amazed by this.
//:κλεψύδρα
I was in love and that song was the anthem 🔵⚫
cooldebt
All great but Eddie Daniels so underrated - switches genre with such ease and liquid smooth on clarinet.