Cheap Red Clay (Music) (Freddie Hubbard) Price

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Customer Reviews of Red Clay

Pure genius
This album is Freddie Hubbard at one of his best moments. His provoking solo over the groovin' Red Clay (especially the live bonus track) amazes me every time I listen. Delphia starts with a slow, beautiful melody played by Hubbard, and later transitions into a brilliant Herbie Hancock solo. The solo work on the rest of the tracks is just as impressive. Overall, this is a great album even for the casual listener.

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Very Enjoyable and Funky
This is a really enjoyable album. Unlike some albums that are overproduced, this has a raw volatile quality to it that captures the spontaneity and genius of the musicians involved. The bonus track, a live version of red clay, is really awesome. This is one of the best Jazz albums I've come across so far. It has a strong funky edge that keeps sneaking into things without overpowering the jazz feel. This album is clearly underrated in some jazz CD guides, but Freddie Hubbard reportedly considers it his best.

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Probably his best form the 70s and beyond
This was recorded in January of 1970. Many jazz musicians had been feeling the pressures of rock's popularity. Freddie Hubbard had occasionally experimented as early as 1966 with rock (or soul) rhythms. "Red Clay" was his first album for CTI, but it's not like his other, rock-oriented output for the label. The title cut is the only original-album tune with a rock beat. But even then, Lenny White contributes interesting stuff with quality, real-jazz interaction. Other than the organ on "Delphia," a 6/8-swing tune, Herbie Hancock plays electric piano throughout. Joe Henderson stays more in the background on those first two cuts, but the band stretches out and swings wonderfully on "Suite Sioux" and "The Intrepid Fox." Joe's solos--as usual--balance perfectly between "in" and "out." Freddie soars in typical fashion; often, it's of the can't-believe-yer-ears nature.

This music--largely because of Herbie's light touch--has an airy lilt to it: a fresh, liberated feel. The electric piano (that classic Rhodes sound) is part of it, as is Ron Carter's heady, understated bass. "Cold Turkey" (a bonus cut) gets an imaginative, and yes, groovy treatment. It's hard to sit still to it. Another bonus cut, an alternate take of "Red Clay," is added this time around, but if you already own the previous CD incarnation, I don't think you need to buy this--unless you strive for completeness. Great music, folks. This wonderful album gets my unqualified recommendation, and should please both hard-core jazz fans and those who just dabble in it.
Cheers,
Murray