Freddie Hubbard - 1970 - Red Clay

Freddie Hubbard 

1970 

Red Clay

01. Red Clay 12:05

02. Delphia 7:25

03. Suite Sioux 8:40

04. The Intrepid Fox 10:40

Bass – Ron Carter

Drums – Lenny White

Piano – Herbie Hancock

Saxophone – Joe Henderson

Trumpet – Freddie Hubbard

Recorded at Van Gelder Studios. Recorded January 27, 28, 29, 1970.

Herbie Hancock appears through the courtesy of Warner Bros. Records.

The first Freddie Hubbard album released on Creed Taylor CTI label marked a shift away from Hubbard's recording with Blue Note Records. It was the album that established Taylor's vision for the music that was to appear on his labels in the coming decade. "Red Clay" is Freddie Hubbard's seventeenth overall album.

On Jan. 27, 1970, trumpeter Freddie Hubbard, playing at the peak of his powers after a string of seven brilliant Blue Note albums and three for the Atlantic label, went into the studio to cut his first for Creed Taylor’s CTI label. With Taylor producing, a stellar cast was assembled at Rudy Van Gelder’s studio in Englewood Cliffs, N.J., for three consecutive days of recording. They emerged with Red Clay, an album that would not only define Hubbard’s direction over the next decade while setting the template for all future CTI recordings, but would also have a dramatic impact on a generation of trumpet players coming up in the ’70s.

This may be Freddie Hubbard's finest moment as a leader, in that it embodies and utilizes all of his strengths as a composer, soloist, and frontman. On Red Clay, Hubbard combines hard bop's glorious blues-out past with the soulful innovations of mainstream jazz in the 1960s, and reads them through the chunky groove innovations of '70s jazz fusion. This session places the trumpeter in the company of giants such as tenor saxophonist Joe Henderson, pianist Herbie Hancock, bassist Ron Carter, and drummer Lenny White. Hubbard's five compositions all come from deep inside blues territory; these shaded notions are grafted onto funky hard bop melodies worthy of Horace Silver's finest tunes, and are layered inside the smoothed-over cadences of shimmering, steaming soul. The 12-minute-plus title track features a 4/4 modal opening and a spare electric piano solo woven through the twin horns of Hubbard and Henderson. It is a fine example of snaky groove music. Henderson even takes his solo outside a bit without ever moving out of the rhythmatist's pocket. "Delphia" begins as a ballad with slow, clipped trumpet lines against a major-key background, and opens onto a midtempo groover, then winds back into the dark, steamy heart of bluesy melodicism. The hands-down favorite here, though, is "The Intrepid Fox," with its Miles-like opening of knotty changes and shifting modes, that are all rooted in bop's muscular architecture. It's White and Hancock who shift the track from underneath with large sevenths and triple-timed drums that land deeply inside the clamoring, ever-present riff. Where Hubbard and Henderson are playing against, as well as with one another, the rhythm section, lifted buoyantly by Carter's bridge-building bassline, carries the melody over until Hancock plays an uncharacteristically angular solo before splitting the groove in two and doubling back with a series of striking arpeggios. This is a classic, hands down.

It was a transitional period in the jazz; the tectonic shift beginning with Miles Davis’ In a Silent Way, recorded the previous year. Hubbard’s entry into this crossover territory on Red Clay was characterized by the slyly syncopated beats of drummer Lenny White on the funky 12-minute title track, an infectious groover that was soon covered by budding crossover groups all over America. Essentially an inventive line set to the chord changes of “Sunny,” Bobby Hebb’s hit song from 1966, “Red Clay” would become Hubbard’s signature tune throughout his career. As trumpeter, friend and benefactor David Weiss, who is credited with bringing Hubbard out of self-imposed retirement in the late ’90s, explains, “Later in life Freddie would always announce it as ‘the tune that’s been keeping me alive for the last 30 years.’ We played ‘Red Clay’ every night and he would quote ‘Sunny’ over it every night.”

Weiss and the New Jazz Composers Octet backed Hubbard on two recordings (2001’s New Colors and 2008’s On the Real Side) in addition to playing several gigs with him. As he notes, “What struck me when I went back to check out ‘Red Clay’ was how loose it is. It’s killing but kind of raw, and it goes on for over 12 minutes … not like what you would expect from what gets tailored to be a jazz hit.”

That looseness can be attributed in large part to drummer White, whose wide beat and interactive instincts characterize the track. “Freddie always credited Lenny with that,” says Weiss. “He said Lenny came up with the beat and that he himself had nothing to do with it. He was always happy to give Lenny credit on that track.”