Last week, Kyle Long discussed five albums that featured Indianapolis-born trumpeter Freddie Hubbard as a bandleader. This week, he takes a look at five more albums featuring Hubbard, this time as a sideman for monumental jazz figures like Coltrane and Coleman.

Sam Rivers
Contours
Blue Note, 1965
A multi-instrumentalist who mostly stuck to flute, saxes and other woodwinds, Rivers was known for his employment of the inside/outside technique, a style of playing that would find the soloist abruptly shifting from structured bop phrasing to dissonant free jazz. On Contours Rivers takes full advantage of Hubbard's stylistic versatility, moving from the harsh abstractions of "Dance of the Tripedal" to the thoughtful phrasing of "Euterpe," a soft, haunting duet between River's flute and Hubbard's muted horn.

Ornette Coleman Double Quartet
Free Jazz: A Collective Improvisation
Atlantic, 1961
Hubbard was a mere 22 when he played on Free Jazz, a landmark album in the development of jazz and experimental music. His youthful exuberance is evident in his playful, stream-of-consciousness soloing on this 40-minute, totally improvised recording.

John Coltrane
Ascension
Impulse!, 1965
A cacophonic kaleidoscope of constantly shifting sounds, Ascension starts at full throttle and maintains that intensity to the end. Hubbard's piercing tone stands out amongst this choir of 11 screaming voices that includes three tenor saxes (including Coltrane's), two alto saxes, two double basses and another trumpet besides Hubbard's. His solo is a highlight, shooting out rapid fire, Coltrane-esque sheets of sound.

Eric Dolphy
Out to Lunch!
Blue Note, 1964
As the title implies, Out to Lunch! is an excursion into "out" jazz, with a sense of humor. Dolphy's Monk-like compositions use Richard Evan's elastic upright bass and Bobby Hutcherson's spaced out vibes to create a comical, drunken sound over which he juxtaposes Hubbard's terse abstractions, resulting in a sound that is as accessible as it is challenging.

Herbie Hancock
Maiden Voyage
Blue Note, 1965
Maiden Voyage contains some of Hubbard's finest soloing, and demonstrates how his presence on a session could push an already great set to even higher heights. Just listen to his growling, virtuoso performance on "Eye of the Hurricane," on which he pushes his instrument to extreme limits but maintains a masterful control.