om, and arguably the most influential. I first met Freddie Hubbard when as a young wantabe teenage musician I started hanging out with Sam Rivers, Don Cherry, Omette Coleman, Jeremy Steig, Archie Shepp and others in Greenwich Village, New York and after studying his play I realized that there was another

rforming with the Argentinean pianist Lalo Schifrin in the late 1950s. By the early 1960s, while playing in Rome, he also worked with the trumpeter Don Cherry. By now influenced by John Coltrane's late recordings, as well as those from other free jazz saxophonists such as Albert Ayler and Pharoah Sanders,