Apart from being landmarks in modern music, what do the following albums have in common? Ornette Coleman’s “Free Jazz”, John Coltrane’s “Ascension”, Eric Dolphy’s “Out To Lunch”, Wayne Shorter’s “Speak No Evil”, Oliver Nelson’s “The Blues And The Abstract Truth”, Sonny Rollins’ “East Broadway Run Down”, Herbie Hancock’s “Maiden Voyage”?

They all feature Freddie Hubbard on trumpet and/or flugelhorn. Despite his illustrious career, there’s always been somewhat of an “always the bridesmaid, never the bride” aspect, never a household name despite one of the most consistent Blue Note discographies – possibly because he never had a crossover hit. But he remains one of the most recognisable soloists in all of modern jazz and also one of the few trumpeters to get Miles Davis’s blessing.

“Breaking Point!” was recorded on 22 May 1964, just after Hubbard had come to the end of two years with Art Blakey’s Jazz Messengers. Gathering James Spaulding on alto sax, soon to appear on Shorter’s “The Soothsayer”, pianist Ronnie Matthews and his touring bass-and-drums pairing of Eddie Khan and Joe Chambers, it was arguably Hubbard’s most diverse and successful collection for the label, and it featured outstanding all-original compositions.

The opening title track is unlike anything else in Hubbard’s solo discography, a joyful mashup of calypso (possibly influenced by Sonny Rollins) and Eric Dolphy’s searching composition style (“Out To Lunch” was recorded just two months previously), with a masterful solo by Spaulding and Khan’s bowed bass ushering the tune to a graceful conclusion. “Far Away” initially seems a nod to Coltrane, a driving modal blues in waltz time (though drummer Chambers almost shifts into 4/4 swing at various points), but Spaulding’s flute adds a light, original touch.

The catchy and relatively short “Blues Frenzy” may have been an unsuccessful attempt at that elusive “hit”, but it’s still distinguished by some resplendent Spaulding sermonising. Also listen out for Matthews’ nod to Miles’s “All Blues”. Meanwhile “D Minor Mint” is the latest in a long line of wonderful bebop-flavoured compositions by Hubbard. He rises to the occasion with a classic solo before “Mirrors” closes out the album, an elegant ballad with a gorgeous melody and lovely chord changes.

“Breaking Point!” remains a Hubbard masterclass, and his majestic tone, natural sense of drama and intriguing rhythm patterns always keep this music accessible. And interestingly, though he is generally known for his technically proficient, rip-roaring style, in Art Taylor’s classic book “Notes And Tones” Hubbard revealed that syncopation is his main priority: “I usually play off what the drummer plays.” He also claimed that he very rarely practiced away from the bandstand or studio.

Beautifully recorded by Rudy Van Gelder and graced with some striking Reid Miles artwork, “Breaking Point!” holds up as one of the great Blue Note releases of the mid-1960s. Remarkably, it was also Chambers’ recording debut, quite a baptism of fire for the 21-year-old.

Matt Phillips is a London-based writer and musician whose work has appeared in Jazzwise, Classic Pop, Record Collector and The Oldie. He’s the author of “John McLaughlin: From Miles & Mahavishnu To The 4th Dimension”.

_{Header image: Freddie Hubbard. Photo: Francis Wolff / Blue Note Records.}