Freddie Hubbard Red Clay

Freddie Hubbard - Red Clay (1970) {CTI Records 40th Anniversary Edition rel 2010}
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© 1970, 2010 CTI / Masterworks Jazz / Sony Music | 88697 76822 2
Jazz / Post Bop / Soul Jazz / Trumpet

Amazing work from Freddie Hubbard – one of his best albums ever! The title cut's a classic, but all cuts on the album are great – and really set a whole new standard for soul jazz in the 70s! Unlike the freer runs of Miles Davis, Freddie takes things into territory here that's open, yet tightly controlled – a really soulful, spiritual vibe that's quite different than any of his later commercial work – or his hardbop of the decade before!

Before Freddie Hubbard signed with CTI Records in 1970, he was already considered one of the most brilliant jazz trumpeters in the world. RED CLAY, his debut album on the label, is an exceptional set of plugged-in hard bop fused with funk - and reportedly the album he considers his best. Joining him on five of the six cuts, is a crack quintet featuring longtime colleagues Joe Henderson and Herbie Hancock, on tenor saxophone and keyboards respectively. The final number, a previously unissued, extended live jam on the title tune, finds Hubbard fronting an all-star septet that includes such fellow CTI stars as George Benson and Stanley Turrentine. ~ Amazon

Freddie Hubbard - Anthology: The Soul-Jazz and Fusion Years 66-82 (2002) {2CD Soul Brother Records CD SBPJ 10 D}
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© 1966-82, 2002 Soul Brother Records / Passion Music | CD SBPJ 10 D
Jazz / Soul Jazz / Jazz Funk / Fusion / Trumpet / Flugelhorn

This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.