| | Freddie Hubbard Red Clay CD Freddie Hubbard Discography of CDs
 (3 Customer Reviews)
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RED CLAY is easily one of trumpeter Freddie Hubbard's finest albums. Falling cleanly between the straight-ahead hard bop of his mid-1960s releases and his more accessible '70s ventures, this is an irresistible mix of electric and acoustic jazz, elevated by dazzling technical proficiency and funk-infused rhythms. Hubbard displays his trademark compositional skill here, with memorable melodies, open and often shifting tempos, and attention to tonal color and atmosphere.
RED CLAY also boasts spectacular personnel: Joe Henderson on tenor sax, Herbie Hancock on electric piano, Ron Carter on bass, and Lenny White on drums. Every musician here is marvelously adept at playing both inside and outside, and each proves his mettle as a sensitive group player and a soloist (particularly Henderson and Hancock). White and Carter's rapport pushes the group toward quicksilver bop tempos ("The Intrepid Fox") and in-the-cut grooves (the title track). The reissue contains an incendiary version of "Red Clay" with a different lineup, including guitarist George Benson and percussionist Airto Moreira.
All tracks have been digitally remastered.
W/ 1 Prev.Unrel. Live Jam Bonus Track.
Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey; Southgate Palace, Los Angeles, California between January 27, 1970 and July 19, 1971. Includes liner notes by James Isaacs.
Reissue producer: Didier C. Deutsch.
Personnel: Freddie Hubbard (trumpet); Joe Henderson, Stanley Turrentine (alto saxophone); Herbie Hancock (piano); Johnny Hammond (electric piano, organ); George Benson (guitar); Ron Carter (bass); Lenny White, Billy Cobham (drums); Airto Moreira (percussion).
Producer: Creed Taylor.
Mojo (Publisher) (6/02, p.125) - "...A rigorous purveying of muscular 2-chord, hard-bop-to-light-fusion improvisations over frantic boogaloo beats..." Red Clay Music | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Trumpet | | Label | Legacy | | Orig Year | 1970 | | All Time Sales Rank |  10382  | | CD Universe Part number | 3681831 | | Catalog number | 85216 | | Discs | 1 | | Release Date | Jun 18, 2002 | | Studio/Live | Mixed | | Mono/Stereo | Stereo | | Engineer | Rudy Van Gelder | | Recording Time | 49 minutes | | Personnel | Freddie Hubbard - trumpet
Airto Moreira - percussion
Johnny Hammond - electric piano, organ
Also: Herbie Hancock, Ron Carter, George Benson, Billy Cobham, Lenny White, Joe Henderson, Stanley Turrentine | | Additional Info | Bonus Track; Remastered |
Freddie Hubbard Red Clay Songs | 1. | Red Clay | $0.99 | |
| 2. | Delphia | $0.99 | |
| 3. | Suite Sioux | $0.99 | |
| 4. | Intrepid Fox, The | |
| 5. | Cold Turkey | $0.99 | |
| 6. | Red Clay - (previously unreleased, alternate version, bonus track) | |
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Red Clay Music Review Average Rating: (4.3 out of 5 stars)   Red Clay is Superb
One of the best live jazz recordings. I recall the first time I heard it on radio a couple of years ago--I was so mesmerized that I could not get the song out of my head. I proceeded to purchase the cd the very next day!!! Jazz legends such as Herbie, Morgan, Benson et al., including Hubbard of course, make this a classic album for sure.
Submitted by von anthony (Wash DC)
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 The Fusion Bridge
Though Miles Davis' 'Bitches Brew' is, pretty much recognized as the genesis of jazz/rock fusion, the continuation of those ideas proceeds through Tony William's Lifetime, The Mahavishnu Orchestra, Return To Forever, and Weather Report. By 1974, Herbie Hancock's 'Headhunters' one of the most successful recordings in jazz history, catapulted the huge explosion of electric jazz for the 70's and 80's. Creed Taylor really deserves so much credit for the blossuming of the music in a more soulful, more 'bop-continuum' direction. 'Red Clay' was released only a year after 'Bitches Brew', yet the sounds and ideas are so much more coherent. With his CTI label, Creed Taylor released an onslaught of albums by a roundtable of leaders whom played on each other's records, including: Freddie Hubbard, Stanley Turrentine, George Benson, Joe Beck, Deodato, Hubert Laws, Joe Farrell, and Bob James with continual support of Herbie Hancock, Ron Carter, Stanley Clarke, Billy Cobham and others who would go on to become some of the most famous and successsful musicians in history. 'Red Clay' is more of a bridge to the soulful jazz of the 70's than anything else. This record is priceless! I really appreciate the live version of 'Red Clay' included on this CD version. Though Miles gets plenty of deserved credit, Herbie Hancock is the truest pioneer of electronic jazz, as he proves so clearly on every song on 'Red Clay'. Though Freddie Hubbard is acclaimed for his hard bop work following his initial stint with Art Blakey's Jazz Messengers, 'Red Clay' is widely recognized as his signature release.
Submitted by St. Davey (Windham, Me.)
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Red Clay brings back memories of real straight ahead jazz.
It's just great straight ahead jazz music from the nearby past. Real, down home jazz.
Submitted by a reviewer (Ellicott City, Md 21043 USA)
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Purchase Red Clay CD To buy, Click on price to add to cart | Miles Davis In Person At The Blackhawk: Complete CDs (2003) Remastered; Box Set
Red Clay
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"Walkin'" is taken at the kind of jaunty tempo that distinguished the Wynton Kelly-Paul Chambers-Jimmy Cobb rhythm axis. Paul Chambers' buoyant, effortless beat, his sure sense of harmony and swing, and his resounding brand of melodic bass (dig his little bowed break at the conclusion of "Walkin'") are the glue which hold these performances together. On "Walkin'" he and Jimmy Cobb lock up the groove as if swinging were the same as breathing, allowing Kelly to engage the trumpeter in a continual dialogue, feinting counterpoint and feeding him his favorite chords, then dropping away to allow Miles to stroll for a taste.
Kelly's joy is infectious on the band's old warhorse "Bye Bye Blackbird" and the easy-going ballad "All Of You," where he seems to particularly inspire a laid back bluesy Hank Mobley tenor solo. Mobley, never a Davis favorite, is not the fiery foil he relished, but his buttery tone and imperturbable lyric charm suit the slightly conservative tone of these performances. But in a long reading of "No Blues," Miles pointedly has Wynton Kelly testify briefly in response to his own, almost down home reading of a blues, before engaging Cobb in some talking rhythm exchanges. However, Kelly is capable of a gorgeous romantic approach, as in the lush chording which enlivens the closing "Love I've Found You."
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| | Lee Morgan Sonic Boom CD (1967) Bonus Tracks; Remastered
Red Clay
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Sonic Boom was not released until 1979 and then remained in print only for a brief time before eventually being reissued years later. In addition to the great trumpeter Lee Morgan and a fine rhythm section (pianist Cedar Walton, bassist Ron Carter, and drummer Billy Higgins), the well-rounded set is a bit special for it allows the often R&B-associated tenor David "Fathead" Newman an opportunity to stretch out in a more challenging setting than usual. Highlights include the funky "Fathead," the complex "Sneaky Pete," Morgan's lyricism on "I'll Never Be the Same," and the infectious rhythms on "Mumbo Jumbo." This is an undeservedly obscure session. ~ Scott Yanow
This is indeed a welcome curiosity. The 2003 version of Lee Morgan's Sonic Boom was recorded in 1967, was not released until 1979, and then was quickly deleted. When it was reissued on CD in the 1990s, it was only in print for a short time as well. While one might think the third time is the charm, you'd have to reconsider. Blue Note has made the set available as part of its so-called connoisseur series, meaning it will only be available for a limited time once more. Issued in glorious 24-bit remastered sound, Sonic Boom is here re-released along with a huge bonus, a 1969 session that was originally the latter half of the 1978 double-LP The Procrastinator. The personnel here is completely different: on the earlier set, Morgan was accompanied by Cedar Walton, Ron Carter, Billy Higgins, and David "Fathead" Newman. On the latter, Julian Priester, George Coleman, Harold Mabern, Walter Booker, and Mickey Roker are in the house. Sonic Boom ...
| | Seven Steps: The Complete Columbia Recordings Of Miles Davis: 1963-1964 CDs (2004) Limited Edition
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Initial pressings of SEVEN STEPS are packaged with a deluxe metal spine.
Also includes a 92-page booklet with rare photos, complete discography and essays by Michael Cuscuna and Bob Blumenthal.
All tracks have been digitally mastered using 24-bit technology.
In the 1960s, trumpeter Miles Davis became a star outside of the jazz world, first with what history refers to as "the Quintet" with Wayne Shorter and Herbie Hancock, then with his highly influential post-BITCHES BREW electric bands. But there was a "transitional" period, after John Coltrane left Davis's employ and before the Shorter/Hancock era, which the SEVEN STEPS box set based around the SEVEN STEPS TO HEAVEN album documents in its entirety, often in a live context.
Davis was seeking the right combination of musicians for his sonic flights, where hard-bop and modal styles could be combined with a wide-open, increasingly elastic sound. Before settling on Shorter (present here), he tried the conventionally hearty, blues-accented bop approach of saxophonist George Coleman and the rippling, somewhat more avant-garde Sam Rivers. Both soar and sear at their respective best, providing remarkable contrast to Davis's magically cool horn. UK-born pianist Victor Feldman plays on some tracks, Hancock on others; the drum chair features Tony Williams (also an explorer of avant expression) ...
| | John Coltrane One Up, One Down: Live At The Half Note CDs (2005) Remastered
Red Clay
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The dramatic, spiraling inventions of Tyner lend a frenetic element to Coltrane's already intense lines, while Jones and Garrison find and rearrange nearly every rhythm and counter-rhythm imaginable. There are only four tracks here (spread out over two discs), but each--whether it's the fiery title track or the exhilarating take on "My Favorite Things"--is a study in artistry.
Live Recording
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| | Thelonious Monk At Carnegie Hall CD (2005)
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On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's ...
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The Boulevard Big Band, which was founded in 1988, is a first-class local jazz orchestra based in Kansas City. A part-time affair, it nevertheless features top-notch musicians, challenging but swinging arrangements, and occasional guest soloists. On Take Only for Pain, flugelhornist Tom Harrell, tenor saxophonist Pete Christlieb and pianist-arranger Frank Mantooth guest on two songs apiece. As welcome as they are, the band is pretty strong even without the illustrious guests. Trombonist Steve Dekker is a potentially major soloist, Hal Melia on soprano and alto is impressive, tenorman Bill Caldwell battles Christlieb to a draw on the heated "Tenor Tantrum," and drummer Todd Strait drives the band. Many other soloists get in their spots (including Wayne Hawkins on synth during the funky blues "Workahol") and all are worthy. With charts provided by Mantooth, Dekker, Melia, Chuck Tumlinson, Dave Aaberg, and Tim Brewer, the music is fresh even when the song is a familiar standard. A particular joy is hearing trumpeters Aaberg and Tumlinson match ...
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Japan; Super-High Material 
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