ON FIRE: LIVE FROM THE BLUE MOROCCO isn’t just a window into Hubbard’s legacy—it’s a full-immersion dive into one of the most electrifying live jazz performances ever recorded
Resonance Records
Freddie Hubbard – Trumpet; Bennie Maupin – Tenor Saxophone; Kenny Barron – Piano; Herbie Lewis – Bass; Freddie Waits – Drums
Freddie Hubbard was a cornerstone of jazz, a trumpet virtuoso who played alongside Art Blakey and the Jazz Messengers, traded licks with John Coltrane, and pushed boundaries alongside Ornette Coleman. Now, a previously unreleased live recording is finally seeing the light of day, thanks to a remarkable collaborative effort.
ON FIRE: LIVE FROM THE BLUE MOROCCO is exactly what it sounds like—a scorching 1967 performance recorded at Sylvia Robinson’s Bronx jazz club that’s been hiding for decades. The package is co-produced by Bernard Drayton, the trumpeter’s son and estate representative, Duane Hubbard, drummer Charley Drayton, and Zev Feldman, the award-winning “Jazz Detective” and co-president of Resonance Records. It’s a killer band that includes Bennie Maupin on sax, Kenny Barron on piano, Herbie Lewis on bass, and Freddie Waits on drums.
‘Crisis’ kicks off the set with a hard bop swagger. Hubbard dives right in, his trumpet dancing up and down the register, packing each phrase with rapid-fire notes. Kenny Barron’s comping is like a soft cushion behind Hubbard’s bluster—precise and elegant, keeping the rhythm tight while Hubbard mixes sharp, biting attacks, and a big brassy tone. Bennie Maupin’s tenor sax solo is deep, textured and full of character.
‘Up Jumped Spring’ shifts the mood. Hubbard opens with muted trumpet, setting a reflective, almost playful tone. The rhythm section holds everything together with ease, with Waits ’subtle brushwork adding texture. Maupin’s sax here is cool and laid-back, but still full of character. It’s a relaxed atmosphere, but one that doesn’t lose the urgency of the band’s interaction. The pace picks up when Barron takes a solo, his lines fluid and frisky, and the way the bass and drums weave around him is a joy to listen to. The muted trumpet returns with lilting phrases, and Maupin’s sax chimes in as if to playfully nudge Hubbard along. This one’s all about rhythm and mood, and it delivers in spades.
‘Echoes of Blue’ turns the spotlight on Herbie Lewis, who digs into the bass with commanding authority. His solo prowls the low end, each note weighted with emotion and grit, with some bent notes that feel almost like a sigh. Behind him, Barron plays a bluesy piano figure, and the band builds a slow groove underneath. Hubbard’s trumpet comes in with a raw, bluesy tone, playing short, pointed phrases. This one feels more contemplative, yet it still sizzles with energy, especially in the rhythm section’s work.
‘True Colors/Breaking Point’ is a tour de force. The horns clash and spark here, pushing the envelope as Maupin takes an intense sax solo, his tone sharper and more muscular than before. Hubbard isn’t holding back either—he’s darting across the register with quick, mercurial lines that keep you on edge. Barron’s piano solo is a highlight—his ability to transform lightning-fast runs into fluid, seemingly effortless phrases is unmatched. The rhythm section—bass and drums—kicks it into overdrive, with Waits delivering a drum solo that feels like a controlled explosion ready to break loose at any moment.
‘Bye Bye Blackbird’ opens with Hubbard launching a fiery, almost reckless assault on the standard. His technical prowess erupts with an intensity that borders on controlled chaos. Maupin counters with a contrastingly cool solo, his tenor cutting a precise line through Hubbard’s heat. The tension between the horns crackles with an electric, almost confrontational energy. Barron remains a calm anchor, his piano work propulsive yet understated, while the rhythm section drives a steady, inexorable beat. As Hubbard’s pyrotechnics reach a fever pitch, Maupin steps in with a solo that’s both a counterpoint and a complement—confident, measured, yet charged with its own quiet intensity.
The other standard, ‘Summertime’ gets a dramatic opening with Hubbard’s brassy, bold trumpet leading the charge. His sound may recall Miles, but he pushes it further, more brash, and with a bit of a snarl. Maupin’s subsequent solo arrives like a counterweight—reserved, yet cutting a smooth, introspective line that deepens the track’s emotional complexity.
This performance, recorded live in 1967, captures Hubbard at a time when he was fully coming into his own. His work with Art Blakey and his appearances on landmark albums cemented his place in jazz history, but here, we hear a young trumpet master at his most ferocious, leading a band that matches his energy every step of the way.
The remastering by Matthew Lutthans, with Bernie Grundman pressing the vinyl, resurrects the original recording’s raw energy. Every note is crisp, every solo hits with the same intensity as it did on that night in 1967. The packaging is gorgeous, featuring a meticulously crafted booklet that includes fresh interviews from Bennie Maupin and Kenny Barron, authoritative notes by jazz scholar John Koenig, and revealing conversations with Freddie’s son, trumpet luminaries Charles Tolliver, Eddie Henderson, Steven Bernstein, and Jeremy Pelt.
ON FIRE: LIVE FROM THE BLUE MOROCCO isn’t just a window into Hubbard’s legacy—it’s a full-immersion dive into one of the most electrifying live jazz performances ever recorded. It’s Hubbard at his peak—bold, unpredictable, and absolutely on fire.
