Occasionally, jazz musicians are asked to play certain requests that don’t really fit into our stylistic framework. Today, we’re going to make an effort to explain why that is. Some tunes not originally intended to be played in a jazz style fit easily into one, and some don’t, and we’ll try to explain why that is.

Trumpeter Freddie Hubbard (born April 7, 1938) was one of the most gifted and technically proficient of any of the jazz trumpet players of his generation. His fiery, athletic, harmonically rich, seemingly effortless style influenced virtually all trumpet players who came after him. Serving his apprenticeship with Art Blakey’s Jazz Messengers, his compositions provided a springboard for that group as well as his own groups, and he was a popular sideman on quintessential recordings by Herbie Hancock, Wayne Shorter and many other jazz greats.

Trumpeter/composer Lee Morgan (born July 10, 1938) first rose to national prominence as a teenager with Dizzy Gillespie’s big band. Becoming one of the most prominent hard bop trumpet soloists, he spent years with Art Blakey’s Jazz Messengers, eschewing forming his own bands even as he issued numerous recordings as a leader in his own right. His recording of his tune "The Sidewinder" became an unexpected hit for Blue Note Records, leading to a scramble of the label to replicate that success for years after, with no success. Morgan was tragically struck down at the age of 33 in 1972, after an altercation with his common-law wife during a gig in NYC, cutting short what was a mercurial career for the influential trumpet player.