AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Pure Pleasure / CTI - PPAN CTI6007 - 180 Gram Virgin Vinyl
AAA 100% Analogue - Limited Edition - Pressed at Pallas Germany
Pure Analogue Audiophile Mastering by Ray Staff at Air Mastering London
"If you don’t own this LP your jazz collection has a big hole that needs filling" - HIFI +
This audiophile vinyl re-mastering is excellent. Despite the modern instrumentation, the mix is stripped down (not unlike Rudy Van Gelder’s work). Both the trumpet and Flugelhorn have individual tonality with respective sharpness and mellowness. Carter’s subtle bass work is subdued, but not lost. Benson’s guitar has its customary silken vibe but has occasional electric crispness. The high- gloss packaging and lined record sleeves are top notch - AudiophileAudition 4/5
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."
In the pantheon of jazz trumpeters, Freddie Hubbard stands as one of the boldest and most inventive artists of the bop, hard-bop and post-bop eras. Although influenced by titans like Miles Davis and Clifford Brown, Hubbard ultimately forged his own unique sound – a careful balance of bravado and subtlety that fueled more than fifty solo recordings and countless collaborations with some of the most prominent jazz artists of his era.
This exciting LP is essential for all serious jazz collections.
Throughout his distinguished career, trumpet (and sometimes flugelhorn) player Hubbard has worn many musical hats. He became best known as a fiery and energetic hard bopper with a string of classic Blue Note albums from the 60s to his name, as well as being a graduate of Art Blakey's Jazz Messengers. Once the word was out that there was a new kid on the block, his muscular style found its way onto an amazing amount of albums, from Oliver Nelson (Blues And The Abstract Truth) and Herbie Hancock (Maiden Voyage) to John Coltrane (Ascension) and Ornette Coleman (Free Jazz).
Despite an association with Eric Dolphy the avant-garde was never really Freddie's bag. By the time of this release (1970) his solo material was moving more towards the soul Jazz end of the spectrum. Despite sidemen usually associated with Miles Davis; (drummer Jack DeJohnette, pianist Herbie Hancock and first call bassist Ron Carter) and that was a ghost that hovered over Hubbard for a long time, this is as far away in approach and sound to the Prince of Darkness that you could get.
After a free trumpet/drums intro "Straight Life" settles into powerful groove that hardly lets up through its 17 minutes, (think supercharged afro-beat). Where Miles used a less is more aesthetic, Hubbard is exuberant, fearless and clearly at the top of his game.
Tenor player Joe Henderson also plays around the cusp between freedom and melodic ingenuity, while Hancock and guitarist George Benson keep the whole thing cooking and refuse to let the groove flag in any way.
"Mr Clean" lowers the temperature a notch but still provides both a template for acid Jazz (those pop bands too lazy to find their own voices) and enough source material for sample hungry DJs. This was a time before 'fusion' became a dirty word and Hubbard himself descended into a string of commercially motivated but artistically redundant releases. Here it's a joy to hear him soar over Hancock's sparkling electric piano.
When he brings out the flugelhorn on "Here's that Rainy Day" Hubbard shows off his romantic side. Benson and bassist Ron Carter provide a perfect backdrop for Freddies lovelorn ruminations, letting the listener down gently after all the earlier excitement. Top notch.
Jason Kennedy Hi-Fi Choice's HOT PICK! Jan 2015
In 1970 Freddie Hubbard, Joe Henderson, George Benson, Ron Carter, Jack DeJohnette, Richard Landrum and Weldon Irvine went into Rudy Van Gelder's studio and brewed up a groove so audatious it may never be equalled. It's one hell of a lineup, old-school horn players meet new generation guitar, piano and drums, so the music they make reflects the crossover. Powerful funk rhythms underpinning vibrant solos from trumpet, sax, conga, keys and guitar.
Straight Life captures the vibe found on Miles Davis' Bitches Brew, it's rhythmically stronger and less challenging, and more of a collaboration. It may be Hubbard's name on the cover , but this is very much an ensemble creation. Only the final track, Here's That Rainy Day,a duet with Benson, puts him in the lead for any duration. This short album has just three tracks, but they contain more insight, intensity, tone and vibe than most. Heavy but light, multi-layered yet intrinsically legible, this is the distilled essence of a finely honed groove. It is also a great recording with more inner detail and low end welly than most of its era.
Van Gelder plus CTI equals the dope and Pure Pleasure is the Icing on a rich sonic cake. JK
Freddie Hubbard, trumpet, fluglehorn
Joe Henderson, tenor saxophone
Herbie Hancock, piano
George Benson, guitar
Ron Carter, bass
Jack DeJohnette, drums
Richard "Pablo" Landrum*, percussion
Weldon Irvine, tambourine
1. Straight Life
2. Mr. Clean
3. Here's That Rainy Day
Produced, engineered & mastered
by: Creed Taylor
Recorded at Van Gelder Studios, November 16, 1970
Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources
There really is nothing quite like it. It’s the touch, the feel, you have to stop and stare, the cover, the real thing, even the smell.
Its tangible, you can feel it, see it, study it, muse/dream over it, it’s real, someone has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.
The music and the physical record. Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover, the sleeve notes, you are holding a unique package, produced by craftsmen.
Pure Pleasure Records bring you vinyl albums of quality Jazz - Blues - R+B - Soul - Funk, remastered by some of the best engineers in the world and pressed on 180 gram audiophile vinyl at what is probably the best pressing plant in Europe
Pre Analogue Audiophile Mastering
Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl
Released in Limited Quantities
"Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year."
Audiophile Vinyl - Made in Germany For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!