Epstein Secrets

1938, In Indianapolis, Indiana. As a student and band member at Arsenal Technical High School, he demo

o Blue Note, where he recorded Open Sesame, his solo debut, in 1960 at the age of 22. The album, which also featured Tina Brooks and EFTA00721063 McCoy Tyner, marked the launch of one of the most meteoric careers in jazz. Within a year's time, Hubbard followed up with his second and third recordings — Goi

as a sideman or session musician, observing how band leaders operated. During that time he also did a

became a first call session musician, appearing on over 500 albums by such artists as Michael Jackson, Herbie Hancock, Mariah Carey, Wayne Shorter, McCoy Tyner, Frank Sinatra, George Benson, Dr. John, Aretha Franklin, Elton John, Grover Washington, Jr., Donald Fagen, Bill Withers, Chaka Khan, LL Cool J and

le Christmas" and "Christmas Time Is Here" with a band that includes legendary guitarist Russell Malone.

ng the boundaries of the art form and earning a reputation as one of the music's most adventurous voices. Ballads, featuring his stellar quartet of McCoy Tyner, Elvin Jones, and Jimmy Garrison, finds Coltrane at his most pensive and lyrical. The result is one of the great jazz albums of the 20th Century. Ab

dist, and composer. As a member of Miles Davis's band in the late 1960s, he participated in the =irth o

late 1960s, he participated in the =irth of the electric jazz fusion movement. In the 1970s he formed Return to Forever. Along with Herbie Hanco=k, McCoy Tyner, and Keith Jarrett, he has been described as one of the major jazz piano voices =o emerge in the post-John Coltrane era. Corea continued to pursue

by what position remained open in the high school band rather than following a personal interview. He cl

tered states of consciousness that emerge while hearing the beat of Tibetan monks meditating, the Sufi chant-dances of Rumi and the John Coltrane and McCoy Tyner’s endless, single chord, tenor/piano dialogues exemplify the bifurcation to hallucinatory new stuff arising spontaneously from the experience of unch

nare drums. Sounding a bit like a Salivation Army Band, they played and sang, “They cast their nets in G

f /iving in Jesus. Many things about them changed: their tastes in food, from hamburgers to vegetables and fruit; from the jazz of John Coltrane and McCoy Tyner and the cynicism of Frank Zappa’s “...only fourteen and knows how to nasty...,” to playing strum guitar and singing the hymns of Wednesday night heal