FREDDIE HUBBARD'S - COLLECTION STARTS WITH THESE TWO AUDIOPHILE NASTERPIECES

 AUDIOPHILE MASTERPIECE RED CLAY 180 GRAM 33 & 1/3 LP ( SO RARE THAT EACH TITLE ALONE SELLS FOR $250 A PRISTINE SEALED COPY LIKE WE ARE OFFERING HERE) STARTS THIS COLLECTION WITH VERIFYING COLLECTORS ORIGINAL RELEASE 1ST EDITION 40TH ANNIVERSARY MARKETING/HYPE STICKER PROVING THAT THIS LP IS THE ORIGINAL ISSUE OF THIS EDITION AND THAT THIS ISSUE WAS pressed ON 180 GRAM PREMIUM REMASTERED VINYL AND THAT STICKER IS STILL ATTACHED TO THE SEALED PLASTIC WRAP PROTECTING THE LP JACKET & VINYL INSIDE. IF YOU DON'T SEE THIS STICKER ATTACHED YOU ARE NOT PURCHASING AN ORIGINAL ISSUE OF THIS RELEASE.

- SOUL EXPERIMENT ATLANTIC RECORDS SD 1526 PRESSED AT RHINO RECORDS STICKER ATTACHED ON THE BACK OF THE PLASTIC WRAP. 

& BACKLASH ATLANTIC RECORDS SD- 1477 BOTH ATLANTIC RECORDS PRESSED BY RHINO RECORDS PRESSED AT RHINO RECORDS STICKER ATTACHED ON THE BACK OF THE PLASTIC WRAP.

PLUS - OPEN SESAME BLUE NOTE 4040 RECORDS

& LASTLY 1ST LIGHT CTI RECORDS CTI-6013 

- THIS IS OUR ONE & ONLY SET FOREVER  

COLLECTORS NOTE: THESE LATTER 4 OUT OF PRINT RE-ISSUE LP'S WERE PRESSED SO LONG AGO THAT THESE VINYL RECORDS DON'T EVEN HAVE A BARCODE ON THE JACKET FOR A COLLECTOR WHO WANTS TO OWN PRISTINE JACKETS EXACT TO THE ORIGINAL WITHOUT BARCODES FOR THEIR COLLECTION.

- 6 LP SEALED SET - "LAST SET FOREVER AND ONCE SOLD GONE FOREVER"

ALL FACTORY SEALED -

 You should never pass up the opportunity to upgrade your collection. They're each very limited in their pressings and disappear with extraordinary quickness from the vinyl market. This causes prices to skyrocket because once they are gone, they are gone forever! Don't second-guess yourself with this chance to upgrade your collection because before you know it, the opportunity will have passed forever.

TITLES ARE -

FREDDIE HUBBARD RED CLAY AUDIOPHILE 180 GRAM GATEFOLD JACKET REMASTERED FROM ORIGINAL TWO TRACK ANALOG MASTER TAPES.    

This is the sequential classic of Freddie Hubbard's catalog. Bandmates on this musical journey are Herbie Hancock on Fender Rhodes, Ron Carter on electric and acoustic bass, Lenny White on drums & Joe Henderson on tenor sax & alto flute. 'Red Clay' is accessible, grooving and one of the first fusions of R&B & Funk with Post-Bop. "Red Clay" sprung from his memories of his childhood in Indianapolis, noting that many of the neighborhood's residents had come from the deep South, and he wanted the tune to evoke images of that southern red clay. This album definitely falls into line with the other great fusion of that period; Miles Davis's 'Bitches Brew.' The title lead off track has become a standard piece most notably for being sampled by hip hop artists A Tribe Called Quest.

Track Listings

1              Red Clay

2              Delphia

3              Suite Sioux

4              The Intrepid Fox

Freddie Hubbard Straight Life 180 GRAM PURE PLEASURE AUDIOPHILE LIMITED EDITION  LP

180g High Quality Pressing! Pressed at Pallas in Germany! Remastering by Ray Staff at Air Mastering!

Straight Life is a soul/funk influenced jazz album recorded in 1970 by trumpeter Freddie Hubbard. Hubbard is joined here by an all-star group including Joe Henderson, Herbie Hancock, George Benson, Ron Carter, Jack DeJohnette and more!

Recorded between trumpeter Freddie Hubbard's better-known classics Red Clay and First Light, Straight Life is actually arguably Hubbard's greatest recording. Hubbard, joined by an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette, is frequently astounding on "Straight Life" (check out that introduction) and "Mr. Clean," constructing classic solos. The very memorable set is rounded off by the trumpeter's duet with Benson on a lyrical version of the ballad "Here's That Rainy Day." This exciting album is essential for all serious jazz collections.

This release was produced, engineered, and mastered by Creed Taylor. It was recorded at Van Gelder Studios on November 16, 1970.

Features:

180g Vinyl

 Pressed at Pallas in Germany

Remastering by Ray Staff at Air Mastering, Lyndhurst Hall, London

Musicians:

Freddie Hubbard, trumpet, fluglehorn

Joe Henderson, tenor saxophone

Herbie Hancock, piano

George Benson, guitar

Ron Carter, bass

Jack DeJohnette, drums

Richard "Pablo" Landrum, percussion

Selections:

1. Straight Life

2. Mr. Clean

3. Here's That Rainy Day

PLUS THESE FOUR ADDITIONAL LP'S

OPEN SESAME - BLUE NOTE 4040 RECORDS ISSUE

Freddie Hubbard/Trumpet

Tina Brooks/Tenor Sax

McCoy Tyner/Piano

Sam Jones/Bass

Clifford Jarvis/Drums

Recorded in 1960 by Blue Note, Freddie Hubbard's OPEN SESAME is not only a very good LP: it dramatizes history in the making. The trumpeter was not unknown then, but he was still in his early years; so was pianist McCoy Tyner, for whom a momentous association with John Coltrane was just around the corner.

The best-known musician at the time of this recording was bassist Sam Jones, and while he went on to bigger things with Cannonball Adderley and then Oscar Peterson, it was Hubbard and Tyner who would emerge as unambiguously major figures. That by rights should also have characterized tenorist Tina Brooks, but this superb player (his work on "But Beautiful" here is exquisite) never got the recognition he deserved, dying almost forgotten in 1974 at the age of 42.

Further highlights include the leader's "Hub's Nub" and the two takes apiece of the title track and "Gypsy Blue," both excellent compositions by Brooks. Mention should also be made of drummer Clifford Jarvis, a young lion steeped in Blakey, and Rudy Van Gelder's predictably flawless engineering.

Tracks include: Open Sesame - But Beautiful - Gypsy Blue - All Or Nothing At All - One Mint Julep - Hub’s Nub

SOUL EXPERIMENT - ATLANTIC RECORDS SD 1526 ISSUE

 Reissue of 1969 album. Pulling in supersonic sidemen - Gerry Jemott, Eric Gale, Grady Tate, Billy Butler and the awesome Bernard Purdie - who had already stirred the stew for the likes of Aretha Franklin, King Curtis and James Brown, the trumpeter hit the jazz R&B pedal with total conviction. 

Recorded just before the recently reissued "Red Clay" Hubbard is in devastating form. He dominates the whole album, and is regally supported by a host of luminary sidesmen of whom Gerry Jemmott(Bass) and Bernard Purdie/Grady Tate (drums) give their all as a rhythm section.The real 'find' from the remaster is just how important a part the unsung Gary Illingworth (organ) played in the sessions. Add to that Eric Gale who plays fluid,funky and singing guitar on seven of the tracks, and Carlos Garnett on Tenor who mostly sits and plays behind Hubbard, before breaking loose on his own composition "Hang 'em high" Favourite tracks are the funky "Clap your hands", the wonderfully slinky "Midnite Soul" and the title track "A soul experiment". There isn't a bad track on this album, and even the seemingly obligatory pop track "Wichita Linesman" stands up. This may be a well hidden reissue, but it's one that deserves the attention of anybody who is getting into Hubbard through that "Red Clay" reissue.

A must-have album.

Track Listings

 1. Clap Your Hands                         

2. Wichita Lineman                         

3. South Street Stroll                       

4. Lonely Oul                      

5. No Time To Lose                          

6. Hang Em Up                  

7. Good Humor Man                       

8. Midnite Soul                  

9. Soul Turn Around                        

10. A Soul Experiment

FIRST LIGHT - 1ST LIGHT CTI RECORDS CTI-6013 ISSUE

 basic principle of marketing and advertising states that if you have a great product, chances are it'll sell itself. This principle also applies to the world of jazz - and Freddie Hubbard exploits his product with such passion and zeal that the man needs nothing more than his trumpet and a group of skilled sidemen to offer a sound that could fill thousands of billboards.
I've been a devoted listener to Hubbard's work, both collecting and indulging myself in all of his projects, ranging from his tenure has a sideman with Art Blakey, Herbie Hancock, Bill Evans, and Hank Mobley as well as all of his material as group leader, and, at times, Hubbard comes close to displacing Miles Davis as my all-time favorite trumpeter.

When I first heard this album, it was not hard to displace the legendary Miles Davis and rank Freddie Hubbard as the greatest trumpet player in jazz.

The liner notes tell the rest of the story - about how, even in 1971, Hubbard was on the verge of nationally displacing Miles Davis as the #1 jazz trumpeter because Miles was venturing too deeply into the impressionistic virtuosities of jazz-rock fusion and was simply keeping afloat by reputation alone. But when it came to pure, unadulterated talent: Hubbard was the man who could play the trumpet like no one else.

Many of Hubbard's earlier albums are some of the best jazz records I've ever listened to, and much of his sideman work is surely something to brag on, but by the time this album was recorded, Hubbard infused this album with something that no other album contains: communication. From the very first note to the very last, it is impossible to turn your attention away from the music because each note is like a word in an intimate conversation - and each word is part of a wonderful story.

For instance, on the opening title track, the listener is immediately transported to a remote location at sunrise, and as the sun continues to rise with each note, the location becomes less and less remote until it becomes an entire metropolis booming with activity due to the break of day. Hubbard does an extraordinary job transforming Leonard Bernstein's "Lonely Town" into an expressionistic masterwork of his own while at the same time giving new life to a freshly released "Uncle Albert/Admiral Halsey" by Paul and Linda McCartney. By the end of the final track, "Fantasy in D," which lives up to the fantastic qualities of its name, you will want to listen to the whole thing again and again and again. These songs are not the typical jazz interpretations of pop songs and showtunes: these are pop songs and showtunes which, because of Hubbard's great product, become jazz standards.

Track Listings

BACKLASH - BACKLASH ATLANTIC RECORDS SD- 1477 ISSUE

To jazz fans under the age of 30, the name Freddie Hubbard probably won't signify a superstar. From the 1960s to the late 1980s, however, he was the third-best trumpeter in the music. Illness triggered a decline in the 1990s, but, thankfully, there are still numerous reissues that recall his greatness. Backlash, from 1966, finds the former member of  ART BLAKEY in a jazz-R&B hybrid mood with pianist Albert Dailey, drummer Otis Ray Appleton, saxophonist/flutist SPAULDING and percussionist BARRETTO. Technically, Hubbard's robust  -influenced chops are in full effect. "On the Que Tee," "Up Jumped Spring," and the title track all reflect the soulful spell of  hit "Sidewinder." But this date is best remembered for giving the world the first version of Hubbard's lovely jazz standard "Little Sunflower." With the lilting Latin tinges provided by Barretto, Hubbard floats above those rhythms with lyrical ease, reminding us of the majesty of his music. 

 Track Listings

1. Backlash                          

2. The Return Of The Prodigal Son                            

3. Little Sunflower                           

4. On The Que-Tee                          

5. Up Jumped Spring                       

6. Echoes Of Blue

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