Why not hearken to some extra jazz that was considerably famously sampled by A Tribe Known as Quest? (What’s up, Ronnie Foster?) Not like Ronnie Foster, who’s greatest identified for the immensely sample-able bassline he wrote for “Mystic Brew”, Freddie Hubbard is an immensely influential trumpet participant, having performed with Artwork Blakey’s Jazz Messengers, Ornette Coleman, John Coltrane, Wayne Shorter, Eric Dolphy, Herbie Hancock, and led his personal teams on some unimaginable albums, together with three that had been recorded for CTI within the early 1970’s: Crimson Clay, First Mild, and Straight Life. I’ll check out the title monitor from Crimson Clay for this column.

Freddie Hubbard’s “Crimson Clay”, Crimson Clay (1970)

“Crimson Clay” opens the album of the identical identify with an extended introductory vamp earlier than the groove is available in with the track’s primary head. Hubbard is joined right here by Herbie Hancock on Rhodes, Joe Henderson on sax, Ron Carter on bass, and Lenny White on drums.

Whereas Hubbard’s trumpet moans on this intro, Henderson’s sax joins the undercurrent of White’s rolling drums, Hancock’s Rhodes strains, and Ron Carter’s turbulent bass. At about 1:10, the unaccompanied drumbreak begins, adopted by the track’s bassline after which the Rhodes. The horns deliver the melody at about 1:25.

Hubbard’s trumpet solo begins round 2:25 over relaxed Rhodes, bass, and drums. Round 2:55, White shifts to his journey cymbal and Hubbard picks up his solo’s depth briefly, then calms again down a bit. After some good relaxed enjoying, the depth is again up round 3:20 as Hubbard hits a excessive observe then continues to maneuver his solo alongside.

Round 3:55, he performs some quick 2-note patterns that I affiliate with Hubbard’s enjoying. Hubbard’s solo ends round 4:30, resulting in Herbie’s solo. His enjoying is sweet right here, although maybe not essentially the most thrilling Herbie Hancock I’ve ever heard with Ron Carter’s bass backing him.

Round 5:30, he performs some chords on the Rhodes and the horns come again in with a 3-note sample behind the persevering with Rhodes solo till about 6:00. Herbie’s solo continues till about 6:30, dissolving into Joe Henderson’s sax solo. Beginning considerably hesitantly with some sparse notes, Henderson hits on some phrases that remind me very a lot of Hubbard’s trumpet enjoying round 7:00 – nice stuff.

Round 7:30 or so, Hancock finds some good Rhodes patterns behind Henderson’s solo and shortly after that, round 7:45 or so, Hubbard’s trumpet provides some rhythmic pushes behind Henderson’s solo in unison with Hancock’s Rhodes chords, resulting in a climax round 8:20 with each Hubbard’s trumpet and Henderson’s sax reaching towards the higher register.

Henderson’s sax solo goes on a bit longer after that earlier than a bass solo from Ron Carter beginning round 8:55. He sticks largely with variations on the track’s bassline, main as much as some largely open drumbreaks round 10:00, after which the theme returns round 10:15 or 10:20.

I really like how Hubbard bends among the notes down right here on the finish, making it sound like time is stretching a bit. The drums, bass, and Rhodes take the groove on their very own from about 11:20 till 11:45 or so, when the group returns to one thing just like the introduction to the track.

Stable enjoying from everybody right here, a spotlight is Henderson’s sax solo, each in his phrasing that sounds very influenced by Hubbard’s trumpet solo and within the climax round 8:20 with Hubbard’s trumpet becoming a member of in with the drums, bass, and Rhodes.

The tune is an actual earworm for me, and I do like this model, however I can’t assist however really feel prefer it wants some extra fireplace behind it – possibly it’s simply the best way this was recorded, I’m unsure.

Freddie Hubbard’s “Crimson Clay” (Alternate Model), Crimson Clay (1970)

The Crimson Clay reissue features a bonus reside model of the title monitor, that includes Stanley Turrentine on sax, George Benson on guitar, Johnny Smith on organ and electrical piano, Ron Carter on bass, Airto Moriera on percussion, and Billy Cobham on drums.

It’s an identical association to the studio model, excluding Benson’s guitar solo added earlier than the keyboard solo. Billy Cobham’s drums knock a bit of greater than Lenny White’s from the studio model general, which is welcome. I believe Hubbard performs up the pitch bends a bit of extra through the track’s primary theme that I discussed from the studio model (examine round 1:53-1:56 or so for this).

The electrical piano will get misplaced a bit of bit within the combine on this model with Benson’s guitar taking many of the comping duties. Hubbard’s solo is good, additionally enjoying on a whole lot of bent notes and resulting in a climax round 4:00-4:10 whereas he holds a excessive observe and Cobham’s cymbals crash.

Turrentine’s sax solo is subsequent, actually working the gang and constructing grooves all through. As on the studio model, Hubbard’s trumpet provides some punch behind the solo simply earlier than 7:00. Benson’s guitar solo comes subsequent, and he additionally builds some good grooves (take a look at 8:20-8:30 or so). Cobham’s hi-hat is a bit of a lot in right here, however that’s simply my style I assume.

Smith’s keyboard solo begins round 10:40 and it’s superb, although not a spotlight of this model to my ears. After the keyboard solo, the entire band is absolutely in jam mode whereas Hubbard’s trumpet takes the lead earlier than heading into Ron Carter’s temporary bass solo simply earlier than 15:00, main again to the theme round 15:30.

They play by means of the top earlier than some form of jokey stuff on the finish from Hubbard’s trumpet round 17:10 or so, then again to one thing just like the introduction beginning round 18:00.

Some extra fireplace on this one, and it appears fairly clear that the entire soloists are enjoying nice and actually pushing on the groove – I’m guessing the gang would have eaten these items up.

The V.S.O.P. Quintet’s “Crimson Clay”, Tempest within the Colosseum (1977)

One other reside model of this tune that includes Freddie Hubbard on trumpet is on the VSOP Quintet’s Tempest within the Colosseum from 1977, led by Herbie Hancock on acoustic piano with Wayne Shorter, Ron Carter, and Tony Williams.

After the opening vamp, Carter’s bassline opens the tune round 1:20 at a sooner tempo than the variations on Crimson Clay earlier than Hancock’s piano after which Williams’ drums take part. This model sounds significantly better to my ears than both of the variations above – I’ll chalk that as much as Williams’ drumming, I believe, and the extra up-front sound of Ron Carter on this recording.

Carter’s bass may be very outstanding for Hubbard’s trumpet solo – I believe this bass tone actually works nicely for this track, although I think that tone isn’t to everybody’s style. So it goes – round 3:20, they’re in a fantastic groove… I really like how Herbie’s piano responds to Hubbard’s trumpet line round 3:40.

All through this solo, the piano and trumpet sound actually related. Hubbard performs some actually acrobatic-sounding strains round 5:15 to finish his solo earlier than Wayne Shorter’s solo beginning round 5:25 or so. Hancock and Carter lay down a pleasant mattress of descending chords and strolling bass round 6:00, and this builds progressively and organically over the following couple of minutes earlier than issues drop out a bit round 8:00 and Shorter’s solo ends round 8:20, resulting in a piano solo.

It’s a busy-sounding piano solo that relaxes a bit of round 9:15 or so. Form of a wierd pause round 9:30, however Herbie comes again in a number of seconds later sounding energized and the solo continues. Ah, he hits on some good phrasing round 11:10 that works actually, very well… they create again the top round 11:30 or so actually properly – the solos are nice, however this band as a unit is shockingly good.

Shorter and Hubbard have some good backwards and forwards after they undergo the top, with Hancock’s piano within the combine right here – round 13:15 I don’t understand how they’re doing it and making it work, however that is so good… Shortly after this the track ends.

Nice enjoying throughout, I cherished this model of this tune, loads of the hearth I want was in additional abundance on Crimson Clay. Wow.

Soil & Pimp Periods’ “Crimson Clay”, Pimpoint (2007)

Extra just lately, Soil & Pimp Periods (I don’t identify the bands, don’t ask me) performed “Crimson Clay” on their 2007 album Pimpoint. This Japanese band options Tabu Zombie on trumpet, Motoharu on sax, Josei on keys, Akita Goldman on bass, and Midorin on drums.

Reasonably than opening with a wailing trumpet-led vamp, this model begins with a stripped-down model of the “Crimson Clay” bassline and it’s clear that this can be a heavy groove from the get-go… When the drums are available in round 0:15, it’s with a funkier break (no offense, Lenny White) than within the authentic variations from Freddie Hubbard.

As on the model above from the VSOP quintet, the keyboard is an acoustic piano somewhat than the Rhodes. Straight by means of the top, the drums and bass are completely locked collectively resulting in a really high-energy sax solo beginning at round 1:20 or so. Nice, high-energy soloing right here that the drummer goes with in lockstep earlier than a breakdown round 2:40. A piano solo follows, maintaining the vitality degree extraordinarily excessive.

Fascinating to listen to how the bass participant performs behind these solos – it’s the “Crimson Clay” chords, however with an attention-grabbing, form of Latin really feel. The piano solo ends round 3:50 and the funk is again because the trumpet participant is available in with some delay results – this works actually nicely for me on this part, significantly round 4:30-4:50 or so… wow.

The top comes again at about 5:15, and the band’s vitality from their solos carries by means of to their restatement of the top. My good buddy and I had been simply speaking about Soil & Pimp, and he stated when he noticed them reside, the vitality degree was so excessive it was nearly absurd. I can think about that, after listening to this model of “Crimson Clay.”

The VSOP Quintet introduced the hearth that I believed was considerably missing within the authentic variations, together with some loopy stuff, pulling music out of the clouds to give you one thing fully new. Soil & Pimp aren’t attempting to give you one thing fully new right here, simply to play the shit out of this tune.

Wonderful solos throughout and I actually appreciated the delay impact on the trumpet, an excellent high-energy model of “Crimson Clay.”

Jose James’ “Crimson Clay”, Stay on the iTunes Competition (2012)

The final model of this tune I’ll point out is from José James. Earlier than I get to this one, a little bit of background. Go examine these out:

Okay, all set? José James does a model of “Park Bench Folks” over “Crimson Clay” with “Winter in America” as an interlude. Obtained that? “Park Bench Folks” begins round 28:15 within the video above, the place James is joined by Richard Spavens on drums, Kris Bowers on keys, Takuya Kuroda on trumpet, Solomon Dorsey on bass, and Alister White on trombone.

James begins “Park Bench Folks” with what seems like a DJ’s cuts of his personal vocals (a trick he likes to make use of to good impact – take a look at a few of his reside variations of “Bother” up on YouTube) earlier than the complete band is available in enjoying the “Crimson Clay” chords and bassline behind his vocals.

Within the Freestyle Fellowship authentic, the instrumental does sound so much like “Crimson Clay,” however it’s not the complete tune – this band actually took it there, and it’s a fantastic model of the track utilizing the unique association by Freddie Hubbard behind James’ very sturdy association of the “Park Bench” vocal.

Because the track strikes into the second verse, the instrumental behind James loosens up a bit and there are fairly a number of additions to this association which might be from Freestyle Fellowship and never from Hubbard’s composition…

Round 30:30, James’ vocal soars on the lyric “…the folks fall apa-a-a-a-a-a-art,” transferring into Takuya Kuroda’s trumpet solo over some chords that sound associated to, however possibly in a roundabout way from the “Crimson Clay” association because the band strikes towards “Winter in America” beginning round 32:15 with out lacking a beat.

Good funky vamp round 33:15 or so… Round 33:45 the band strikes again into “Park Bench Folks” as James requires simply the drums after which strikes into a fantastic rhythmic experiment with Spavens – evaluate this to the Freestyle Fellowship model – that is such an bold association of this track, and it’s working so nicely right here…

Round 35:10 or so, the band strikes into “Crimson Clay” outright, enjoying the track’s head with James’ vocal doubling Kuroda’s trumpet. Not like the Freddie Hubbard authentic, the band takes it to a reasonably calm ending, dissolving right into a slower, funky vamp whereas James assures us that we’ll by no means see him go down. Unbelievable.

The band does a fantastic model of “Crimson Clay,” and pull of a super-ambitious (re-)association of an obscure Freestyle Fellowship tune with Gil Scott-Heron. What? Wonderful.

Conclusion

Freddie Hubbard’s “Crimson Clay” is a good tune in its first incarnation on the album of the identical identify; to my ears, later performances of this tune had been extra thrilling listens than the unique studio model.

Hubbard, Herbie Hancock and Ron Carter revisiting the tune on Tempest on the Colosseum, for instance, featured some nice improvisations from the person gamers and from the group as a complete.

The instructions that Soil and Pimp Periods and Jose James have taken this tune actually push the groove to the forefront with out sacrificing the improvisatory ingredient.

What a tune… after listening to those variations for the column, “Crimson Clay” completely won’t depart my head – not a foul factor. Preserve listening.

Additionally on this collection

Dizzy Gillespie’s “Con Alma”
Herbie Hancock’s “Butterfly”
Joe Henderson’s “Black Narcissus”
John Coltrane’s “Syeeda’s Music Flute”
Miles Davis’ “Nardis”
Ornette Coleman’s “Lonely Lady”
Roy Ayers’ “Everyone Loves the Sunshine”
Stanley Cowell’s “Equipoise”
Stevie Marvel’s “Isn’t She Pretty”
Thelonious Monk’s “Crepuscule with Nellie”
Wayne Shorter’s “Fall”