Some records epitomize cool, while others help define it. "Red Clay" falls into both categories, but more so the latter. Freddie Hubbard's 1970 recording for CTI records is an incredible melange of progressive jazz, old-school soul, and a dash of blues. Like many of his peers, Hubbard's taste leaned more towards raw funk, and he adopted a "fusion" sound that was apparently very popular in that era. Although the music and production here somewhat reveals its era, it's still very much fresh and relevant. Freddie bursts into a passionate solo at the opening of the title track, before it develops into a smooth and confident instrumental, replete with a kickin' bassline from Ron Carter, and a keyboard solo from Herbie Hancock. "Suite Sioux" is a more traditional bop piece that has Hubbard and saxophonist Joe Henderson in solid form, and we also get a bold re-working of John Lennon's "Cold Turkey." But the disc's peak is saved for last: the bonus track which is an alternate version of the title cut. Performed live, this version is performed loose, less constructed, and more free-flowing than the original studio recording. For any lover of jazz with a progressive edge, "Red Clay" should be a no-brainer of a purchase.

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

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.