This is a complete note-for-note album transcription of Freddie Hubbard’s first recording as leader “Open Sesame.” It features the 22-year-old trumpeter in a quintet with tenor saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis. This set shows that even at this early stage, Hubbard had the potential to be one of the greats. On the ballad “But Beautiful” he shows such maturity; other highlights include “Open Sesame,” a driving “All or Nothing at All” and “One Mint Julep.” It’s an impressive start to what would be a very interesting career.

This book is part of a series of complete album transcriptions of Freddie Hubbard’s incredible catalog by Erik Veldkamp. See them all at this link, see the sound list and album review below, and samples to the left. Then, grab yourself an immediate digital download above.

Song List

1. Open Sesame (Tina Brooks) (7:08)
2. But Beautiful (Johnny Burke/Jimmy Van Heusen) (6:23)
3. Gypsy Blue (Tina Brooks) (6:24)
4. All or Nothing at All (Jack Lawrence/Arthur Alterman) (5:35)
5. One Mint Julep (Rudolph Toombs) (6:04)
6. Hub’s Nub (Freddie Hubbard) (6:56)
7. Open Sesame (Alt Take)

Album Review

Freddie Hubbard’s first album as a leader quickly established him as one of the most exciting horn players on the scene. His ability to sustain rapid-fire solos for long periods of time is like watching a young pitcher throw 100 mph heat, only much more swinging ensues in the case of Hubbard. Mixing bebop and hard bop, Open Sesame has something for everyone: speed, soul, melody and even a little mayhem. Tina Brooks contributes two originals to the session, while Sam Jones and Clifford Jarvis contribute some of the best rhythm support I’ve heard in a long time.

The Brooks originals are the album’s crown jewels. Both Open Sesame and Gypsy Blue feature Latin rhythms and memorable melodies that stay with you long after the album is over. (The expanded CD reissue presents alternate takes of both tracks that are similar to what ended up on the original elpee.) Hubbard and Brooks complement one another nicely, occasionally playing harmony to give the melodies a richer dimension. Hubbard is an extroverted soloist, Brooks more introverted, yet both seem to arrive at the same place on their solos. Only McCoy Tyner, who seems criminally quiet on this session, uncovers new avenues in his solos. In fact, Tyner is the only one to make sense out of the “melody” on Hub’s Nub.

Another highlight on Open Sesame is the quintet’s cover of the Burke/Van Heusen classic, But Beautiful. Here, Hubbard’s horn take the place of the voice and the arrangement provides a calm oasis between the two spicy originals. All or Nothing at All comes in swinging, and the group’s take on The Clovers’ One Mint Julep is a cool jazz number that reminds me of Herbie Hancock’s R&B-influenced songs (e.g., “Watermelon Man”). Although it’s not the best Rudy Van Gelder recording I’ve heard by a longshot, the fadeouts that appear on the some of the songs (e.g., “One Mint Julep,” “Hub’s Nub”) are appreciably original.

Several days after this session, Brooks and Hubbard paired up again (with Sam Jones) on True Blue. Both albums reveal a talented composer whose career was cut too short. Tyner, of course, would go on to great things as part of John Coltrane’s band. As for Jones and Jarvis, I can’t believe this is the first time I’m hearing them play together. Their performance on Open Sesame is a textbook example of what a swinging rhythm section should sound like. And Hubbard? Well, all doors would soon be open to him.