Hubbard was born in Indianapolis, Indiana, and associated in his youth with various musicians in Indianapolis, including Wes Montgomery and Montgomery's brothers. Chet Baker was an early influence, although Hubbard soon aligned himself with the approach of Clifford Brown (and his forebears: Fats Navarro and Dizzy Gillespie). Read Full BioFreddie Hubbard (Frederick Dewayne Hubbard, Indianapolis, Indiana, April 7, 1938 - Sherman Oaks, California, December 29, 2008) was an American jazz trumpeter.
Hubbard was born in Indianapolis, Indiana, and associated in his youth with various musicians in Indianapolis, including Wes Montgomery and Montgomery's brothers. Chet Baker was an early influence, although Hubbard soon aligned himself with the approach of Clifford Brown (and his forebears: Fats Navarro and Dizzy Gillespie).
Hubbard's jazz career began in earnest after moving to New York City in 1958. While there, he worked with Sonny Rollins, Slide Hampton, J. J. Johnson, Philly Joe Jones, Oliver Nelson, and Quincy Jones, among others. He gained attention while playing with the seminal hard bop ensemble Art Blakey & The Jazz Messengers, appearing on such albums as Mosaic, Buhaina's Delight, and Free For All. He left the Messengers in 1964 to lead his own groups and from that time maintained a high profile as a bandleader or featured as a special guest, but never merely a sideman.
Along with two other trumpeters also born in 1938, Lee Morgan (d. 1971) and Booker Little (d. 1961), Hubbard exerted a strong force on the direction of 1960s jazz. He recorded extensively for Blue Note Records: eight albums as a bandleader, and twenty-eight as a sideman. Most of these recordings are regarded as classics. Hubbard appeared on a few early avant-garde landmarks (Ornette Coleman's Free Jazz, Eric Dolphy's Out to Lunch and John Coltrane's Ascension), but Hubbard never fully embraced free jazz, though it did influence his playing.
After leaving Blue Note, Hubbard recorded for the Atlantic label and moved toward a more commercial style. His next label was CTI Records where he recorded his best-known works, Red Clay, First Light, and Sky Dive. By 1970, his fiery, melodic improvisation and phenomenal technique established him as perhaps the leading trumpeter of his day, but a series of commercially oriented smooth jazz albums spawned some negative criticism. After signing with Columbia Records, Hubbard's albums were almost exclusively in a commercial vein. However, in 1976, Hubbard toured and recorded with V.S.O.P., led by Herbie Hancock which presented unadulterated jazz in the style of the 1960s Miles Davis Quintet (with Hubbard taking the place of Davis).
1980s projects moved between straight-ahead and commercial styles, and Hubbard recorded for several different labels including Atlantic, Pablo, Fantasy, Elektra/Musician, and the revived Blue Note label. The slightly younger Woody Shaw was Hubbard's main jazz competitor during the 1970s and 1980s, and the two eventually recorded together on three occasions. Hubbard participated in the short-lived Griffith Park Collective, which also included Joe Henderson, Chick Corea, Stanley Clarke, and Lenny White.
Following a long setback of health problems and a serious lip injury in 1992, Hubbard played and recorded occasionally, but not at the high level that he set for himself during his earlier career.
On December 29, 2008, Hubbard's hometown newspaper, Hubbard died from complications from a heart attack suffered on November 26 of the same year.
Red Clay
Freddie Hubbard Lyrics
Jump to: Overall Meaning | Line by Line Meaning
Let me hold you honey, I'd holler out loud
Never love another even if I can
Come to me baby I'm a one woman man
Now won't you love me baby just to kinda hang around
I'll always love you honey, I'll never let you down
Never love another even if I can
Come to me baby I'm a one woman man
Well I'd climb the highest mountain if it reached the sky
To prove that I love you I'd jump off and fly
I'd even swim the ocean from shore to shore
To prove that I love you just a little bit more
Ah won't you love me baby just to kinda hang around
I'll always love you honey, I'll never let you down
Never love another even if I can
Come to me baby I'm a one woman man
Now won't you love me baby just to kinda hang around
I'll always love you honey, I'll never let you down
Never love another even if I can
Come to me baby I'm a one woman man
Come to me baby I'm a one woman man
Come to me baby I'm a one woman man
The lyrics to Freddie Hubbard's song Red Clay are a testament to the loyalty that the singer has towards his lover. If she were to tell him that she loves him, he would feel proud and elated. He promises to hold her closely and proclaim his love for her loudly. The singer professes that he would never love another woman, even if he could, as he is committed to his current partner. He invites her to be with him and assures her that he will never let her down.
Moreover, the singer takes it one step further and says he would go to great lengths to prove his love to her. He would climb the highest mountain or even fly to show his unwavering affection towards her. He adds that he would swim the ocean from shore to shore, all to prove that he loves her just a little bit more. The song is a declaration that the singer is a "one woman man," and he invites his lover to come to him, promising to be steadfast and loyal to her.
In conclusion, Freddie Hubbard's "Red Clay" is a love song that extols the virtues of loyalty, commitment, and sacrifice in a relationship. The song's lyrics are a passionate plea to a lover, assuring them of the singer's devotion and fidelity.
Line by Line Meaning
If you told me that you loved me I would feel so proud
My self-worth is contingent on your declaration of love for me, and I would be incredibly happy if you were to express it.
Let me hold you honey, I'd holler out loud
If you allow me to embrace you, I would be so ecstatic that I would yell for joy.
Never love another even if I can
I promise to be faithful and devoted to you only, even if there are others who might catch my eye.
Come to me baby I'm a one woman man
I am declaring that I will only ever love one woman, and that woman is you.
Now won't you love me baby just to kinda hang around
Even if you don't feel the same level of love for me right now, could you at least spend time with me and enjoy my company?
I'll always love you honey, I'll never let you down
No matter what happens, I will always love you and never disappoint you.
Well I'd climb the highest mountain if it reached the sky
I am willing to undertake the most difficult tasks and overcome any obstacle to prove my love for you.
To prove that I love you I'd jump off and fly
I would even do the impossible, or seemingly impossible, if it means showing you just how much I care.
I'd even swim the ocean from shore to shore
Nothing is too daunting or too far for me to go in order to demonstrate the depth of my love for you.
To prove that I love you just a little bit more
There is always more that I am willing to do to prove my love for you, because my love for you is infinite.
Come to me baby I'm a one woman man
I cannot reiterate enough that I am committed to loving only you and no one else.
Come to me baby I'm a one woman man
Once again, I am emphasizing that my love for you is unwavering and that I will always be faithful to you.
Lyrics Β© GOPAM ENTERPRISES INC
Written by: FREDDIE HUBBARD
Lyrics Licensed & Provided by LyricFind
Bill Bernhard
Trumpet, Written-By β Freddie Hubbard
Bass β Ron Carter
Drums β Lenny White
Piano β Herbie Hancock
Saxophone β Joe Henderson
Producer β Creed Taylor
Design [Album] β Tony Lane
Engineer β Rudy Van Gelder
Photography By [Cover] β Price Givens
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Kevin Deibert
One of my favorite Jazz albums from that time period. Had on vinyl - got the Cd version later. I took lessons from Joe Henderson back in the day!
Tara's Turntable
Very cool.
Glen Dietrich
It fills your head with a bunch of good stuff.
Djinn Magik
Muzik Mastery
Stephen Chipkin
Heard 'Red Clay' on one of the rock FM stations back when I was in college. To say I was astounded was an understatement. Fifty years later I would say it's my favorite jazz cut of all time. Look at the lineup. And with all due respect to Miles Davis and Louis Armstrong, nobody every played the trumpet with Freddie Hubbard's skills.
Π£ΡΠΎΠΊΠΈ Π²ΠΎΠΊΠ°Π»Π° ΠΠΈΠΊΠΎΠ»Π°Ρ ΠΡΠ·ΡΠΌΠΈΡΠ΅Π²Π° ΠΏΠΎ Π‘Π΅ΡΡ Π ΠΈΠ³Π³ΡΡ
Freddie! ΠΠΎΡΡ ΠΈΡΠ°Π»ΡΡ ΡΠΎΠ±ΠΎΠΉ Π²ΡΠ΅Π³Π΄Π°, ΠΈ Π±ΡΠ΄Ρ Π²ΠΎΡΡ ΠΈΡΠ°ΡΡΡΡ Π΄Π°Π»ΡΡΠ΅!!!
Cafe` SkypeDJnaphtali
One of my all-time classic favorite albums (and one I don't have) by Mr. Hubbard. I interviewed him at NYC's The Blue Note back in 1994 and will post digital version on here soon.
Elliott Nelson
This is one of the albums that got me into jazz, and remains one of my favorites today!! Shouts out to my band teacher
james evans
A timeless classic by Freddie Hubbard.