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Toyota Advertiser
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Rosetta Stone Advertiser
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Dan Kennedy
Welcome to the Moth Podcast. I'm Dan Kennedy. The Moth features true stories told live without notes. All stories from the podcast are taken from our ongoing storytelling series in New York, Los Angeles, Detroit and Chicago, and from our tour shows across the country. Visit themoth.org let's listen to this week's story. This story by Christian McBride was recorded this year at the Great hall at Cooper Union and the theme of the night was shot through the stories of bows and arrows. That's bows as in B E A U S. Here's Christian.
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Christian McBride
Thank you very much. I'm here to share a story with you about a Man who was a jazz legend, someone I had the great honor and privilege to work with very early in my career. That's the late, great trumpet player Freddie Hubbard. Here for Freddie. I was born and raised in Philadelphia and growing up. Thank you again, jazz musicians of my generation. Our number one hero, the person who we all wanted to play with more than anyone else was Art Blakey. We wanted to be a member of Art Blakey and the jazz messengers. Every great jazz musician since the 50s played with art Blakey. From Freddie Hubbard, Clifford Brown, Lee Morgan, Wynton Marsalis. Wynton and Branford Marsalis, Wayne Shorter. They all play with Art Blakey. So as a teenager, I had my wish list of people I wanted to play with. Art Blakey was unquestionably number one. Number two was up for grabs. But that was answered the first time I saw Freddie Hubbard perform live. It was in the summer of 1987 in Philly. And I had grown up going to a lot of rhythm and blues shows, a lot of gospel shows. So I knew what that entire intensity, that fervor, that drama was in the music and the stage art of these great soul and gospel performers. I never quite got that with a jazz performance. Too many times with jazz concerts, you leave going. I think I liked it because it got you here, but not here all the time. First time I saw Freddie Hubbard, it was the jazz equivalent of James Brown. He might as well have gotten on his knees with his trumpet and had a guy come and put a cape on his back. But that excitement, every time he would take a trumpet solo, the whole audience would just start screaming, like anything you could ever imagine. Freddie Hubbard quickly became number two on my list. I moved here to New York in 1989, and as fate would have it, some of my closest friends, my quickest friends that I made, were a beautiful drummer named Carl Allen, pianist named Benny Green, and a saxophonist named Don Braden. Just by chance, they were all in Freddie Hubbard's band At that time. Art Blakey had just changed to what was to become his final band. So I missed the opportunity to play with Art Blakey. I got to see him, but I never got to play with him. So at that point, I started looking at number two. And I would always very. At least I thought I was being sly and subtle. I would ask Carl, say, carl, who plays bass with Freddie when his regular bass player can't make it? Carl start looking at me like, I got you. I said, yeah, well, who does the gig? He said, well, whoever's available. Great. A few months later would go by, hey, Benny, Freddie doesn't need a sub yet, does he? Don't worry, we got you covered. Every time I would mention Freddie Hubbard, Don, Benny, Carl, they wouldn't give up anything. Finally, Carl calls me. I'm a student of Juilliard at this point. And Carl calls me up and he says, Listen, McBride, I have a very bizarre gig for you. It's in Columbia, South Carolina, and we're going to be the house rhythm section for the Budweiser Jazz Explosion. And if you ever saw that in the late 80s and early 90s, it was rarely jazz. He says, we're going to play behind Noel Pointer, Gene Karn, Lonnie Liston Smith, and Freddie. That's all I heard. Freddie. This was probably my intro, you know, to see if Freddie would like me well enough to maybe call me to sub for his regular bass player. So we go down to Columbia, South Carolina. The gig was at a place, I kid you not, called the. They built a stage in front of a big white house. I'm not lying to you. And we play this gig. Freddie Hubbard was very much an alpha male. He was a man with a huge spirit, a very macho kind of guy. Almost had, like, a mob boss mentality. Just to be a good musician wasn't enough. You also had to be a man. And so Freddie was very dramatic. He didn't make the rehearsal, didn't make the sound check, just showed up for the gig. So I'm in the dressing room, I'm in the trailer, actually, and I'm just shaking in my shoes. And Carl says, hey, Freddie, this is Christian McBride. And I was 17 at the time. And Freddie just kind of looks at me, yeah, nice to meet you. We go on stage and we play, and. And to hear his horn up close like that, I almost had a heart attack. I thought, oh, my God, I'm playing with Freddy Hubbard. I can't believe this gig is over. I'm thinking to myself, God, I hope I made some sort of impression on Freddie. Something. Freddie turns around after the gig, and so he says, nice meeting you. Gets in his limo, goes back to the hotel. I went. Guess he didn't dig it. But I know I'll see him again. I'll know I'll see him again. I knew all of Freddie's music, got together with Carl and Benny and would always try to ask what songs they were playing. So if I ever got the call, I'd be ready. Three months later, I get the call. Carl says, mcbride, we need a bass player for Freddie's. Gig in Chicago. You ready? I went. You have no idea how ready I am. We fly to Chicago. The gig was at the South Shore Jazz Festival, and there's Don and Benny and Carl there to support me. And I don't expect Freddie to remember me from South Carolina because obviously that I made no impression. Freddie comes in the dressing room with about five people, big entourage, coat draped over his back, sunglasses, guy carrying his trumpet. He comes in and greets the band members loudly, hey, what's up? Gives everybody a hug. And he gets to me. I don't have sunglasses. I just have these. He looks at me and he goes, this must be the bass player. So I'm sitting there like, yes, Benny Green, bless his heart. He comes over, he says, freddie, this is Christian McBride, man. You're gonna love him, man. I swear. He knows every song you've ever written. He is so ready. He's gonna knock you out. You just wait. Freddie pulls his glasses halfway down and looks at me and says, you know my shit, huh? Yes, sir, Mr. Hubbard. I know every song you've ever written. I'm ready. He pushes his glasses back up and says, we'll see. We go out, play the gig. I am not lying to you. Freddie did not acknowledge me one bit on this concert. Freddie would go during the saxophone solo. Freddie would stand there, and he kind of watched Don and go, yeah, yeah, you sound good, baby. Piano solo. He turn and look at Benny go and pat him on the back. After the solo was over, bass solo, he leaves the stage. Now I'm trying to follow him to see where he's going. Maybe he's. He, you know, maybe he just doesn't want to give me too much dap, you know, he's just going to go behind the stage and watch me. Doesn't want to make me nervous. I follow him. He lights up a cigarette, starts talking to the sound guy, paying no attention to me at all. Oh, wow, this is bad. He comes back, we play about three more songs. No acknowledgement. Doesn't even look at me, doesn't introduce me, know nothing. I said, okay, this is. In this case, I'm guessing it's probably strike two in the end. I'm not going to get a third opportunity. Last song of the night comes. I take another big, long bass solo. Freddie, he's out in the audience doing something. My heart is down here, you know, I'm thinking, well, at least I could tell my friends I made one gig with Freddie Freddie Hubbard, you know, whatever. So he comes back, we're vamping out. And Freddie now is introducing the band said, ladies and gentlemen, let's hear for our saxophone player, Mr. Don Braden, Mr. Benny Green, our pianist, our drummer and straw boss, Mr. Carl looks and goes. This bass player here, he just turned 18 years old a couple months ago. He don't think I remember, but we played together in South Carolina a few months ago and he's playing his ass off tonight. How about for my new bass player, Mr. Christian McBride and I could have won $10 million. I'm on stage just like. And it was so sweet because Benny and Don and Carl, they also kind of openly went, yes. After the gig was over, I was like, thanks Mr. Hubbard, I appreciate it. He gives me a big hug. And our next gig was in Detroit. He was like, I'll see you in Detroit and for the next three years. I had the most amazing time being in this band and Freddie passed away three years ago. So God bless Freddie Hubbard and thank you for listening.
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Dan Kennedy
Bassist extraordinaire Christian McBride has been one of the most important and omnipresent figures in the jazz world for 20 years. Since 2000, the CR has blazed a trail as a band leader with the Christian McBride band, releasing three CDs, including 2010's Kind of Brown. For more information please visit ChristianMcBride.com the Moth is a non profit organization, so consider supporting our free podcast by going to our podcast contribution page or by becoming a Moth member and you can do that.
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Rosetta Stone Advertiser
Our podcast host, Dan Kennedy is the author of the book Rock An Office Power Ballad. Learn more@rockonthebook.com thanks to all of you.
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Dan Kennedy
For listening and we hope you have a story worthy week. Podcast audio production by Paul Ruest at the Argo Studios in New York. Podcast hosting by PRX Public Radio Exchange Helping make public radio more public@prx.org.