Three near-legendary rhythm players from the dawn of new jazz: Paul Bley led the Hillcrest band that introduced Ornette and has made, at last count, four zillion albums; Paul Motian boosted the best of Bill Evans's trios and became an innovative recording artist, inventing the Electric Bebop Band; and Gary Peacock progressed from West Coast calm to outer space with George Russell, Albert Ayler, Steve Lacy, and countless others.
Village Vanguard, 178 Seventh Avenue South, 255-4037
His place in the realm of jazz guitar is incontestable, and in recent years he has also emerged as a distinguished composer and arranger, as sampled on an exceptional '98 Telarc CD, By Arrangement. More recently, his mastery of lyrical understatement and marked penchant for rhythm strum-ming was demonstrated on Grand Slam (Telarc). He leads a trio.
Morris has matured into a distinctive guitarist and bandleader whose music spills over with labyrinths of riffs, often in the higher frets, that have a mes-merizing ingenuity reminiscent of Ornette at full boreenigmatic and compulsively listenable. His new trio includes his longtime drummer Jerome Duepree.
Moody has lost nothing to time. His tenor can be ecstatic and convoluted or streamlined and soulful or both together. He has a quartet, and some-time during the evening he will play something that will cause your head to swivel 360 degrees.
FREDDIE HUBBARD May 8-13
Iridium, 43 West 63rd Street, 582-2121
Hubbard, a seminal trumpet star of the '60s and after, has suffered from embouchure problems in recent years, but recoups this week with a nine-piece ensemble that should offer fuller explorations of his memorable compositions and spell him between flights of exhilaration.
When Blood goes uptown it isn't to reunite Odyssey or the various Music Revelation Ensemble bands. Instead, he moves slightly inside to what 35 years ago was considered extremely outsideto wit, the killer Trane-inspired rhythm team of John Hicks, Reggie Workman, and Rashied Ali.