Joe Hubbard is an accomplished musician and arranger, who plays many instruments but super-specializes in bass guitar. Outside the inner music industry, few know that Hubbard wrote one of the most sought-after, bass guitar books in history, considered by many to be a ground-breaking instruction manual for masters.
Vanishing Point is his latest music CD -
"Bass-ically speaking, 'Vanishing Point' is the latest release from veteran bass man Joe Hubbard whose 'Hubbards Cubbard' outfit of the mid 1980's gave us all an indication as to what life would be like (musically) in 1991.
Joe is a graduate of the Berkeley College of Music, has a career span that includes touring and recording with the likes of Gary Numan, Elkie Brooks, The Three Degrees, Everything But the Girl and Ben E. King to name but a few. A continuing counterpoint to Joe's career as a sideman has been composing and arranging his own material, conducting clinics and video projects. His two books of bass transcriptions, 'Bass Lines' and 'Pop Bass Lines', make essential reading for any bass enthusiast.
'Vanishing Point' is an impressive contemporary recording that fulfills all the elements of a type of sound that has been under much pressure from an industry lacking in foresight. So much so that this project was financed and produced by Joe featuring musicians from London and Los Angeles.
With keyboard player and long time friend Peter John-Vettese (Jethro Tull, Go West, Bee Gees, Foreigner) and drummer Neal Wilkinson the basic tracks were recorded in London. Michael Paulo (Al Jarreau) on saxophone, Patches Stewart (AI Jarreau) on trumpet and Pat Thomi (Jean Luc Panty, Wendy and Lisa) on guitar recorded in L.A.
The outcome, a recording consisting of five out of seven Joe Hubbard originals and two compositions by Peter-John Vettese. All definitely in the 'groove', as was his 'Nip It In the Bud' 1985 record for Coda. It seems that in those six years Joe Hubbard has absorbed the elements necessary to produce a sound that is fresh, energetic, dynamic and along with the likes of Chick Corea's Elektric Band and the Yellow jackets makes another firm musical statement in contemporary jazz.
The next step was to record this fusion of musical styles using a band with a different edge! Proof of this comes to us immediately by way of the opening and title cut Vanishing Point, inspired by the 1973 film of the same name. If you can try and keep up with Joe's playing on the five string bass which is performed with intense speed, precision and drive whilst leaving enough space for the full cohesion of the-other players to improvise. What is also apparent is the strong interplay between Joe and Neal Wilkinson on drums (whose time signatures are impeccable) providing a funky, tight and solid structure to the tune.
'Nocturnal Mirage' is a subtle midtempo groove that's catchy enough to get you rocking in motion! Michael 'Patches' Stewart is excellent on Flugal horn with an explorative solo that gives over to the authoritative playing of Peter-John Vettese whose Elektric Band overtones brought a smile to my face.
Sonic Bop' shows Joe in the driving seat with a vigorous bassline that is played with intensity and grit whilst demonstrating state of the art control of the instrument. I must admit for a moment 'Jaco' came to mind and note. Also the quote from the Sonny Rollins classic 'Oleo' justifying the FUSION elements of the BeBop tradition with current times.
The Last Night sees Joe in a supportive role allowing it's composer (Peter-John Vettese) to carve out keyboard colourations in a 'cool' mode that makes 'The Last Night' quite electric, especially as Joe is playing the piccolo bass.
Lafkat (Los Angeles Freeway Killer Avoidance Tactics) gives a strong feel of L.A. with it's uptempo beat it seems that everybody's chippin' in and having big fun!
The fourth of his five 'compositions A Different Shade is another easy going midtempo number spiced up with some space-like rhythms provided by Pat Thomi. The tenor sax of Michael Paulo leaves one memorably humming the melody well after the tune has finished!
The final cut on the project Perpetual Lotion is a further example of how a well structured composition should reflect the way in which a group of musicians can spontaneously interact with each other, yet still maintain a cohesive level of improvisation. Listen carefully to Joe's extensive bass solo and feel everything fall into place.
Joe Hubbard has yet made another essential contribution on an instrument that remains the backbone of any jazz group. Through his articulate writing, composition and technique he has managed to overcome the 'sound' barrier that has played electric bass players over the last 15-20 years.
At this point, I suggest you press 'play' on your CD machine, sit back relax and absorb the vibrant impact of this AMERICAN BASS MAN in London." -Steve Edwards, Jazz FM. 13.10.91
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