Review of Freddie Hubbard : Breaking Point [Japan Bonus Tracks]
24 Bit Digitally Remastered Japanese Limited Edition in an LP-STYLE Slipcase. Includes Two Tracks Not on the Original Release.

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Your latest reviews - Freddie Hubbard : First Light is truly first
A basic principle of marketing and advertising states that if you have a great product, chances are it'll sell itself. This principle also applies to the world of jazz - and Freddie Hubbard exploits his product with such passion and zeal that the man needs nothing more than his trumpet and a group of skilled sidemen to offer a sound that could fill thousands of billboards.
I've been a devoted listener to Hubbard's work, both collecting and indulging myself in all of his projects, ranging from his tenure has a sideman with Art Blakey, Herbie Hancock, Bill Evans, and Hank Mobley as well as all of his material as group leader, and, at times, Hubbard comes close to displacing Miles Davis as my all-time favorite trumpeter.

When I first heard this album, it was not hard to displace the legendary Miles Davis and rank Freddie Hubbard as the greatest trumpet player in jazz.

The liner notes tell the rest of the story - about how, even in 1971, Hubbard was on the verge of nationally displacing Miles Davis as the #1 jazz trumpeter because Miles was venturing too deeply into the impressionistic virtuosities of jazz-rock fusion and was simply keeping afloat by reputation alone. But when it came to pure, unadulterated talent: Hubbard was the man who could play the trumpet like no one else.

Many of Hubbard's earlier albums are some of the best jazz records I've ever listened to, and much of his sideman work is surely something to brag on, but by the time this album was recorded, Hubbard infused this album with something that no other album contains: communication. From the very first note to the very last, it is impossible to turn your attention away from the music because each note is like a word in an intimate conversation - and each word is part of a wonderful story.

For instance, on the opening title track, the listener is immediately transported to a remote location at sunrise, and as the sun continues to rise with each note, the location becomes less and less remote until it becomes an entire metropolis booming with activity due to the break of day. Hubbard does an extraordinary job transforming Leonard Bernstein's "Lonely Town" into an expressionistic masterwork of his own while at the same time giving new life to a freshly released "Uncle Albert/Admiral Halsey" by Paul and Linda McCartney. By the end of the final track, "Fantasy in D," which lives up to the fantastic qualities of its name, you will want to listen to the whole thing again and again and again. These songs are not the typical jazz interpretations of pop songs and showtunes: these are pop songs and showtunes which, because of Hubbard's great product, become jazz standards.