Night of the Cookers Jazz Legend

When Trumpets Clashed: The Story of Brooklyn's Legendary 'Night of the Cookers' 

Two trumpet titans ignited a musical firestorm sixty years ago in Brooklyn. Freddie Hubbard and Lee Morgan faced off across two nights in April 1964. Their performances at the La Marchal social club created a legendary jazz event. People later called the Crown Heights showdown "The Night of the Cookers." The encounter crackled with competitive energy. It marked a pivotal moment for both musicians. The recordings captured a raw, electric atmosphere seldom found in studio sessions. This event cemented its place in jazz history. 

The Scene at La Marchal 

The original venue stood at 835 Nostrand Avenue. Today, a deli occupies the space where the Black social club once thrived. James, a current Crown Heights resident, recently pointed out the location in March. He recalled the club hosting the iconic jazz gathering. Hubbard played numerous shows in the mid-1960s. Yet, the La Marchal gigs alongside Morgan remain particularly notable. The club itself, launched in June 1961, served as a community hub. It hosted functions for up to two hundred guests. La Marchal offered performances by local groups and African-themed dance lessons, though jazz was not its primary focus. 

Clash of Styles and Ambitions 

Terence Blanchard, a celebrated trumpeter and composer, acknowledges the recordings' enduring impact. He highlights the distinct musical voices of Morgan and Hubbard. Both men possessed exceptional technical skill. However, their approaches to the trumpet differed significantly. Hubbard, then 27, was purposefully cementing his role as a bandleader. He radiated ambition from the start. Morgan, also 27, navigated complex personal challenges. This occurred even as his unexpected hit, "The Sidewinder," climbed the popular music charts. Their contrasting paths converged powerfully on the La Marchal stage. 

A Stellar Supporting Cast 

Engineer Orville O’Brien expertly documented the performances. He captured a truly stellar lineup supporting the two horn giants. James Spaulding contributed searing solos on flute and alto saxophone. Pianist Harold Mabern Jr. provided sophisticated harmonic foundations. Larry Ridley anchored the band firmly on bass. Pete LaRoca drove the rhythm section with dynamic drumming. Percussionist Big Black added textured layers on the congas. This ensemble provided a powerful, responsive backdrop for the trumpet pyrotechnics. Their collective energy fuelled the intensity of the nights. 

Eyewitness to History 

Trumpeter Eddie Henderson attended both explosive evenings. He vividly remembers the captivating performances. Henderson described being utterly transfixed by Hubbard and Morgan's musical battle. Now performing with the Cookers, a group named in tribute, Henderson spoke of his deep admiration. He considered both men musical giants. During that period, Henderson was a medical trainee. He recounted weekend trips from D.C. to New York City. These journeys allowed him to spend time with the trumpeters. He formed close bonds with both musicians during this time. 

A Ride with Rivalry 

Henderson playfully recalled driving an eager Hubbard to the first "Night of the Cookers" show. The anticipation was palpable during the journey to the club. Hubbard appeared keen to engage in the musical joust. However, the drive back revealed a different side to Hubbard. He turned introspective after the intense performance. Henderson recounted a late-night conversation in his car outside Hubbard’s house. Hubbard questioned Henderson intently about Morgan’s playing that night. Despite Henderson lavishing praise on both, Hubbard admitted a complex rivalry existed between them. This tension underpinned their powerful interaction. 

Friendship Forged in Fire 

Their intense competitiveness existed within a strong bond of friendship. Hubbard passed away from heart complications in 2008. Tragically, Morgan’s common-law wife fatally shot him in 1972. Though only slightly older than Morgan, Hubbard initially followed in his footsteps. Morgan toured with Dizzy Gillespie's big band by age 18. Blue Note Records released his early albums. His profile rose significantly with Art Blakey's Jazz Messengers. Jazz polls consistently ranked Morgan among the top trumpeters. He achieved considerable recognition early in his career. The jazz world buzzed about his talent. 

New York Arrival and First Encounters 

Hubbard made his way to NY City around 1958. He immediately sought out the famed Birdland jazz club. Esteemed jam sessions took place regularly at the venue. Hubbard first encountered Morgan in that dynamic setting. Witnessing Morgan’s confident mastery initially intimidated Hubbard. A 2006 interview with Jazz Improv magazine preserved this admission. Morgan possessed a precocious talent that commanded attention. Birdland served as a crucial proving ground for aspiring musicians. Hubbard observed the high standards Morgan set. This spurred his own drive to excel. 

Shifting Fortunes and Hubbard's Rise 

Personal struggles later hampered Morgan's career momentum. This created an opening within the Jazz Messengers. Hubbard stepped in, replacing Morgan in Blakey's influential group. This marked the beginning of Hubbard's own rapid ascent. His formidable skill quickly became apparent. Powerful compositions like “Thermo” showcased his technical brilliance. Albums released on the Impulse! and Blue Note labels solidified his reputation. Hubbard's playing presented a significant challenge to other horn players. His unique sound combined virtuosity with emotional depth. He became a leading voice in modern jazz. 

Mutual Admiration Despite Rivalry 

Henderson consistently witnessed mutual respect between Hubbard and Morgan during that era. Respect permeated their interactions despite the competitive undercurrent. Henderson recalled Hubbard often suggesting they go watch Morgan perform. Their public exchanges highlighted professional camaraderie. Morgan frequently invited Hubbard onto the bandstand to play. These moments underscored their appreciation for each other as colleagues. Both musicians operated at the absolute peak of their potential. They pushed each other towards greater artistic heights. Their shared experiences fostered a deep understanding. 

Titans Before the Showdown 

Before "The Night of the Cookers," each trumpeter had firmly cemented his status. Both men were significant figures within the jazz sphere. Morgan's infectious tune “The Sidewinder” gained widespread popularity. Its rhythmic groove crossed over to mainstream audiences. Following this success, Morgan released “Search for the New Land.” This album offered a profound creative and sociopolitical statement. Hubbard concluded his initial contract with Blue Note Records around this time. His final album for the label was the esteemed "Blue Spirits." Hubbard described this work as reflecting the ongoing social justice movements. 

The Catalyst: Jest Us Collective 

The La Marchal concerts originated from an initiative by Jest Us. This collective comprised women dedicated to supporting their musician partners. Patricia Hayes, formerly married to drummer Louis Hayes, was a key figure. She underscored the significant challenges Black artists faced. The American entertainment industry presented numerous obstacles. Hayes explained their motivation for creating gigs like "The Night of the Cookers." It served as a way to support brilliant musicians navigating a difficult field. They aimed to create performance opportunities outside the established, often biased, club circuit. Their efforts provided crucial platforms. 

Venue Challenges and Community Support 

Patricia Hayes offered further insights into the music venue landscape at the time. In a recent conversation, she highlighted management concerns regarding finances. Specifically, she mentioned the Blue Coronet in Brooklyn. This club frequently showcased jazz artists but faced financial instability. Creating alternative venues like the La Marchal event became crucial. The "Cookers" occasion proved immensely popular. Hayes stated that ticket sales were huge. This demonstrated widespread community enthusiasm and support for the musicians. People eagerly embraced the chance to witness such high-calibre jazz locally. The event resonated deeply within the neighbourhood. 

An Overflowing House 

The sheer volume of attendees at La Marchal during those concerts was unusual. Hayes pointed this out clearly. She humorously recounted possibly exceeding the club's allowed operating hours. The energy was infectious. Hayes recalled the thoroughly enjoyable atmosphere across both nights. However, she also admitted the profound fatigue felt once the events concluded. Organising and managing such a large, energetic crowd took its toll. The success, while gratifying, was physically demanding for the Jest Us collective members involved in its execution. Their dedication made the nights possible. 

Navigating the Crowd 

James Spaulding, the saxophonist, now eighty-seven, remembers La Marchal vividly. He recalled the musician area situated on a lower level. Spaulding described the significant difficulty musicians faced just getting to the stage. The large audience filled every available space. He specifically noted the extremely crowded state of the public house. This density contributed to the intense, shared experience of the night. The close proximity between performers and the audience amplified the energy. It created an intimate yet electrifying environment quite different from larger concert halls. Fans clustered near the bandstand and serving areas. 

Capturing the Sound: Orville O’Brien 

Orville O’Brien played a vital role beyond organising logistics. During the nineteen-sixties, he stood out. O’Brien among the rare few African American recording engineers active in contemporary music. His expertise extended beyond audio technology. This industrious individual held diverse occupations, including aircraft operations. O'Brien possessed the technical skill to preserve live audio performances effectively. He used specialised tape mechanisms to create high-quality recordings of the La Marchal sessions. His foresight ensured the preservation of these historic musical moments. His contribution was invaluable. 

From Live Tapes to Blue Note Records 

O'Brien recognised the significance of the recordings he captured. After producing master tapes from the event, he sought wider distribution. He sold some of the recordings to the prestigious Blue Note Records. The label released “The Night of the Cookers, Vol. 1” in 1965. This album featured compositions like Clare Fischer’s “Pensativa” alongside the standard “Walkin’.” 1 year down the line, Blue Note issued Volume 2. This second volume showcased Hubbard’s tunes “Jodo” and “Breaking Point.” These tracks represented additional material captured during the two-night stand. However, several other pieces O’Brien recorded remain unreleased. 

Raw Energy, Enduring Appeal 

Don Was became president of Blue Note Records in 2011. He noted the profound, raw quality of the "Cookers" recordings decades later. Was particularly commended Spaulding's exceptional saxophone performances. He also praised the powerful rhythmic drive maintained by Mabern, Ridley, LaRoca, and Big Black. Was acknowledged receiving some criticism over the years. Detractors pointed to perceived sonic imperfections in the live recording. Despite this, Was maintained a deep admiration for the tapes' immersive qualities. He felt the recordings transported the listener directly into the vibrant atmosphere of the club. 

Romancing the Sound 

Don Was further evoked romantic notions surrounding the La Marchal event. His description painted a picture of a packed, shadowy club. Sophisticated music enthusiasts filled the underground environment. The recording captured this unique, intimate atmosphere. It preserved the feeling of being present in that specific time and place. The slight imperfections perhaps added to the authenticity. They reflected the reality of a live performance in a bustling club setting. This rawness contrasted sharply with polished studio productions. The sound transported listeners back to Crown Heights in 1964. 

Live Fire vs. Studio Polish 

Producer David Weiss offered another perspective. Weiss leads the contemporary jazz group called the Cookers, named after the legendary event. He highlighted the inherent differences between studio and live recordings. Polished, published studio versions of known compositions become celebrated landmarks. History remembers these definitive takes. Live concerts, however, possess an unpredictable quality. They demand spontaneous skill from the musicians. Unique, harmonious exchanges between band members must occur for optimal results. The La Marchal tapes captured this spontaneous combustion perfectly. They showcased musicians thinking and reacting in real time. 

The "Pensativa" Showdown 

Both trumpet greats contributed searing solos to Hubbard’s tune "Breaking Point." However, their most direct head-to-head clash occurred during "Pensativa." Clare Fischer composed this mellow, flowing piece. Morgan took the first solo, using a mute to soften his tone. Hubbard responded immediately, playing without a mute. His open horn cut through with sharp clarity. This initiated a remarkable improvisational dialogue. The two trumpeters began overlapping phrases, weaving complex lines together. Rising cheers from the audience punctuated their exchange. The intensity built until it reached a fever pitch. A collective outpouring erupted from the crowd. People couldn't contain their excitement at the musical fireworks. 

Master Musicianship on Display 

The band displayed truly remarkable technique throughout the extended performance. The "Pensativa" exploration lasted over twenty-two minutes. Maintaining such a high level of invention and execution required immense skill. The rhythm section provided unwavering support. Mabern, Ridley, LaRoca, and Big Black created a flexible yet powerful pulse. Spaulding added his own inspired commentary on flute and saxophone. The entire ensemble locked into a deep groove. They navigated the intricate harmonic structure with fluid grace. Each musician contributed significantly to the overall impact. The performance remains a masterclass in interactive jazz improvisation. 

Image Credit - NY Times

Technical Brilliance Analysed 

Contemporary trumpeter Keyon Harrold discussed the demanding nature of “Pensativa.” The tune presents significant challenges for any horn player. Harrold, along with Nabaté Isles, a respected horn instructor and content creator, analysed the performance. Both experts commended Hubbard and Morgan’s handling of the tune’s complexities. They navigated intricate rhythmic patterns effortlessly. Melodic shifts and changes between distinct musical keys occurred with smooth dexterity. Their technical command allowed for complete creative freedom. They transcended the tune's difficulties to deliver pure musical expression. Their mastery was undeniable. 

Inspiring Future Generations 

The raw energy captured on "The Night of the Cookers" inspired Harrold profoundly. Hearing those recordings was a key factor in his decision. He relocated to NY City seeking firsthand experience of that artistic vitality. Harrold recounted attending late-night jam sessions. Witnessing expert jazz artists collaborate spontaneously had a deep impact. These experiences shaped his own musical path. The legacy of events like the La Marchal showdown continued to fuel the city's jazz scene. It drew aspiring musicians eager to learn from the masters. The recordings served as a vital connection to that heritage. 

An Iconic Cover Design 

The visual presentation of the recordings matched their musical intensity. Artist Reid Miles created the iconic branding for the Blue Note releases. Miles developed a distinct graphic style. His work defined the label's visual identity during its golden age. The covers for "The Night of the Cookers" albums were among his final designs for Blue Note. His bold typography and striking use of photography captured the energy of the music. The design reflected the gritty, late-night atmosphere of the La Marchal club. Miles's contribution cemented the albums' place not just in music history, but also in graphic design history. His visual language perfectly complemented the sonic experience. 

Blue Note's Changing Guard 

The release of the "Cookers" sessions coincided with a significant shift at Blue Note Records. Alfred Lion co-founded the label in 1939. He was the driving force behind its artistic direction for decades. Lion possessed an exceptional ear for talent and a commitment to capturing authentic jazz performances. Just twelve months following the La Marchal event, Lion sold his stake in Blue Note. He subsequently ceased his professional obligations within entertainment production. His departure marked the end of a pivotal era for the influential label. The fiery session involving Hubbard and Morgan served as a powerful final statement from Blue Note's classic period under Lion's guidance. 

A Confluence of Legends 

Producer Zev Feldman works extensively with archival jazz recordings. He concisely expressed the enduring impact of this remarkable pair of concerts. Feldman highlighted the key elements that forged its legend. The incendiary passion of the musicians stands paramount. Hubbard and Morgan pushed each other to extraordinary heights. The striking visual materials created by Reid Miles added another layer of distinction. Recognition from the prestigious Blue Note label further solidified its importance. These qualities combined to create an enduring artistic milestone. The event captured a unique moment in time. It brought together exceptional talent in a raw, unfiltered setting. 

Lasting Resonance 

Sixty years later, "The Night of the Cookers" continues to resonate. The recordings offer an electrifying glimpse into a specific moment in jazz history. They document two trumpet masters at the peak of their powers, engaged in thrilling musical combat. The raw energy, technical brilliance, and competitive spirit remain palpable. The event showcased the vibrant Black cultural scene in Brooklyn during the 1960s. It highlighted the crucial role of community initiatives like Jest Us in supporting artists. The tapes preserve not just the music, but also the atmosphere of a community celebrating its own cultural heroes. 

More Than Just Notes 

The legacy extends beyond the breathtaking trumpet solos. It encompasses the stellar work of the entire ensemble. Spaulding, Mabern, Ridley, LaRoca, and Big Black contributed immensely to the night's success. O’Brien’s skilled engineering ensured the preservation of this magic. The crowded, energetic La Marchal club itself became part of the story. This confluence of talent, place, and time created something truly special. The recordings serve as a testament to the power of live performance. They capture the unpredictable magic that happens when great musicians push each other in front of an engaged audience. 

An Essential Document 

"The Night of the Cookers" remains an essential document for jazz enthusiasts. It captures the fierce beauty and competitive spirit that often fuels artistic creation. The event offers invaluable insight into the styles of Freddie Hubbard and Lee Morgan. It stands as a high-water mark in the annals of live jazz recording. The passion captured on tape continues to inspire musicians and listeners alike. The Brooklyn showdown between two trumpet giants cemented its place in history. Its legend endures, a fiery reminder of a truly unforgettable musical encounter.