Freddie Hubbard & Woody Shaw - The Eternal Triangle

Released in 1987 on the Blue Note label, The Eternal Triangle documents the collaboration between two of the most formidable trumpeters in jazz, Freddie Hubbard and Woody Shaw. Following on from their earlier 1985 recording Double Take, this album continues the fiery post-bop dialogue they first sparked. The band is equally as accomplished, featuring alto saxophonist Kenny Garrett, pianist Mulgrew Miller, with drummer Carl Allen and bassist Ray Drummond completing the rhythm section. The repertoire comprises originals by the two bandleaders, along with pieces by Sonny Stitt and Lee Morgan.

“Down Under”, a lively Hubbard original first introduced on the Jazz Messengers’ album Mosaic, opens the album with a heavy shuffle, propelled by the rhythm section. Hubbard’s solo develops in a laid-back manner, climbing to the upper echelons of his register before a sharp descent. Shaw’s first solo on the album rises to the challenge set by his frontline accomplice, merging a soulful approach with rhythmic devices that contrasts to those before him. The pace quickens with Sonny Stitt’s “The Eternal Triangle”, a performance that encapsulates the sextet's dynamic spirit  in just under eight minutes. The frontline trio glide through the frenetic melody before Hubbard launches into a combative improvisation, eagerly driven on by Allen at the drums. Kenny Garrett – fresh from his time with Miles Davis – holds his own, combining blazing runs with harmonic tension.

Woody Shaw’s “The Moontrane” is a notable addition. Shaw’s compositional skills, somewhat underrated in his career, truly shine here. Some thought has been given to the orchestration and use of the two trumpets, with the melody splintering into modern harmonies and staggered entries eagerly followed by a thoughtful, melodic solo from Hubbard. Mulgrew Miller’s piano accompaniment is particularly sympathetic, filling the spaces between the trumpets’ phrases and enhancing the mounting tension. Garrett’s succinct solo is equally compelling, packing everything needed into just a minute, before Shaw’s twisting bebop lines return to the melody via an inspired piano solo.

Lee Morgan’s “Calling Miss Khadija” evokes the quintessential ‘Blue Note sound’, providing a swinging foundation for the band to stretch out. It begins with a menacing bass and piano riff, before clustered horn voicings lead into a unison melody that occasionally branches into harmony. Shaw’s bluesy, inspired solo is echoed by Hubbard (noted for his distinctive leaps) and spurred on by Miller’s assertive comping. There are abundant time changes in “Nostrand and Fulton”, another Hubbard composition that shifts seamlessly between time signatures in both the melody and improvisation. Mulgrew Miller’s lyrical solo shines here, set against a responsive rhythm section – Drummond and Allen – that complement each other beautifully.

Shaw’s penchant for complex melodies is evident on “Tomorrow’s Destiny”, a composition that tugs at the harmony and rhythm yet still delivers a confident, catchy melody. Solos across the band deftly navigate the abrupt transitions from Latin to up-tempo swing, with a special mention to Kenny Garrett’s short but impactful solo, as is the case throughout the album. His concise playing provides brief respite from the intensity, before springboarding the band back into the head for the close.

The Eternal Triangle consolidates both trumpeters’ legacies as trailblazers of hard bop and masterful improvisers, spread across a collection of creative originals and arrangements. The album serves as a bookmark for two of jazz’s most underrated musicians – captivating from beginning to end – and arguably deserves to be far better known amongst lovers of the genre.