Freddie Hubbard had just returned from a tour in South America where they neglected to pay him for his efforts. In spite of this and the fact he really didn’t have time to rehearse his band they burned Kimball’s West up. Just as he launched into a particularly hot version of “Night In Tunisia” a gin soaked voice pierced the darkness,”Red Clay play Red Clay.” And she kept yelling it through most of the set. Freddie finally had enough and in the strongest terms possible admonished the women to stop. Though he finally played her request, it wasn’t a joyful noise. Eric Reed, Freddie’s pianist explains why,”What hurt Freddie and whole bunch of other musicians his age was that period in the seventies when some “true” jazz aficionados thought he sold out for playing the CTI material. All this even though he had done all that fine work with Herbie, Oliver Nelson (Blues And The Abstract Truth), Art Blakey etc.. He was pigeon holed in the same manner as Cannonball was with The Work Song, Lee Morgan with Sidewinder and Bobby Timmons with Moanin and Dis Here.” Thats why it’s important to go see people live .
Eric Reed,”Youngsters like myself, Roy Hargrove, Marlon Jordan were pulled in people partly because the establishment glorified our youth. And it was a wonderful thing to be that young and play jazz well. As long as people keep some perspective about the time it takes to make a contribution of the scope of Freddie Hubbard.”
Excerpt from an 1993 article by Bob Hershon
California Jazz Now