Don Sebesky's Masterwork Giant Box

Don Sebesky’s Giant Box is part of the CTI Masterworks reissues of classic CTI albums marking the label’s 40th Anniversary. Originally issued as a double album, the single CD here makes available the music that Sebesky contributed arrangements/orchestrations to along with some original compositions from him. While it might seem this was a tribute to him from the label’s artists, in fact it was his attempt to showcase some of the label’s soloists he had worked with, and while writing the material he had a feeling who should play specific solos. Sebesky himself the arrangements and compositions here were amongst the most ambitious he had written at that time.

Among those featured on the performances on this recording are Sebesky and Bob James on keyboards; Ron Carter on acoustic, electric and piccolo bass; Billy Cobham and Jack DeJohnette on drums; George Benson and Harry Leahy; Airto, Dave Friedman and Ralph McDonald on percussion; Paul Desmond, Joe Farrell; and Grover Washington, Jr. on saxophones; Milt Jackson on vibes; Freddie Hubbard on trumpet and flugelhorn; Hubert laws on flute; and Jackie Kral and Roy cain on vocals.

The liner notes to the original release are included and while there is considerable classical influence (including his full use of strings, horns and woodwinds) in how Sebesky approaches some of the performances, he affirmatively answers that the ultimate result is jazz. He uses Stravinsky's Firebird to frame his orchestral arrangement for John McLaughlin’s Birds of Fire that is one of the showcases for Hubert Laws’ flute along with Freddie Hubbard’s trumpet and Harry Leahy’s guitar. Paul Desmond’s dry martini alto saxophone is showcased on the interpretation of Joni Mitchell’s Song to a Seagull, on which Sebesky is heard on electric piano.

Sebesky’s electric piano opens his original Free As a Bird with soaring horns has outstanding solos that take flight from James on piano, Hubbard on flugelhorn, and Washington on soprano sax (note how he really digs in on this). James is on organ for the arrangement of Jimmy Webb’s setting for Psalm 150, with Jackie Kral and Roy Cain singing praise for the Lord with Hubbard’s trumpet and Carter’s bass adding to the joyful sounds. Desmond opens the interpretation of Rachmaninoff’s “Vocalise, which is followed by some vibes-piano interplay between Milt Jackson and Bob James along with more Desmond on a lovely performance with some flamenco tinges and lovely use of horns in the orchestration.

Sebesky invokes us with his vocal to fly high as we could if we only could try opening his original medley Fly/Circle. This performance opens somewhat dreamingly that has both Laws and Farrell both displaying a fair amount of reverb in their flute and soprano sax respectively before an interlude with DeJohnette and Carter followed by Farrell’s serpentine solo and a skittering solo from Laws. The closing original Semi-Tough has a funky groove, some skittering piano from Sebesky, a gospel rooted vocal chorus, some gritty alto saxophone from Washington, and George Benson making judicious use of pedal effects in his driving guitar.

The performances on Don Sebesky’s Giant Box display how his ambitious synthesis of classical, jazz and popular music was so realized. His orchestrations frame the featured players here and enhance the solos that exhibit the skill and imagination of some of the greatest jazz musicians of four decades ago with m,ore than a few spectacular moments.

I received my review copy from a publicist for the release.

Don't Mess With Mister Turrentine

Another new remastered CD celebrating 40 years of CTI Records is the CTI Masterworks release of Stanley Turrentine’s Don’t Mess With Mister T. Backed by a Big Band Orchestra (horns and strings) arranged and conducted by Bob James, the original album has been augmented by 4 additional tracks for a full hour of music. James along with Harold Mabern, Richard Tee and Johnny Hammond handle the keyboards, Ron Carter is on bass, Eric Gale on guitar and Irdis Muhammed and Billy Cobham can be heard on drums.

Turrentine had come a long way from the days of touring with Lowell Fulson (Ray Charles on piano), but his music never lost its blues roots and its present in his playing on the title track, a soulful Marvin Gaye composition followed by Turrentine’s mid-tempo groover, Two For T. that has the feel of an organ combo with Gale chording while Mabern takes a nice electric piano solo with carter and Muhammed (with a short break) laying down the steady groove. Turrentine’s Too Blue is another medium tempo blues groover with Richard Tee’s organ and backing horns to support Mr. T’s blues playing and Gale’s jazzy single note solo also benefits from spare use of horn riffs. Turrentine’s warm ballad playing and Gale’s bluesy fretwork and Tee’s churchy organ are heard on Bruce Hawes’ I Could Never Repay Your Love. James arrangement merits mention as the employment of horns and strings complement Turrentine on this and do not get syrupy.

Pieces of Dreams is the first of the bonus selections and the strings are a bit too prominent although Turrentine and rhythm section sounds fine when the strings lay out. The alternate take of the Marvin Gaye title track has Billy Cobham on drums and Johnny Hammond on organ and has more of blowing feel as the horn section and strings lay out. Hammond and Gale really tear into their solos while Turrentine exhibits considerable passion. Hammond, Gale and Turrentine exhibit more fire in Cobham’s Mississippi City Strut, and while James’ Harlem Dawn is not a striking a composition perhaps, it is a nice moody performance with more robust tenor saxophone.

Certainly there is nothing wrong with the first four tracks that constituted the original album. The addition of the bonus tracks (especially the last three) makes the CTI Masterworks reissue of Don’t Mess With Mister T., an even stronger showcase for Stanley Turrentine’s tender yet muscular, bluesy and soulful tenor saxophone.

A publicist sent me the review copy. And here is Mr. Turrentine playing the title track

The Four Hands of Piano From James and Matsui

Altair & Vega (Tappen Zee Records) is a new album representing the collaboration between pianists Bob James & Keiko Matsui. The seven duets transverse jazz, new age and classical worlds to display the two conversing in their musical dialogue here usually playing four hands piano. James mentions that during the concert they have been performing these duets for about 9 years. As clearly evident on the live concert presented on the accompanying DVD, the two share the piano, with James playing the lower keys and Matsui the upper ones.

The music is lovely and more in the classical tradition, not that there aren’t interludes that are more jazz-inflected such as during the performances of Divertimento (The Professor and the Student) which opens with some stately motifs stated by James and echoed by Matsui with Matsui taking an impressionistic run before a jazzy bop interlude segueing to more dreamy playing.

There is a lovely solo from Matsui on Trees that is part of the live DVD concert recording (from Pittsburgh’s Manchester Craftsmen’s Guild), followed by James’ Duo Oto Subito where the two state the lively theme with each taking an extended passage before they end this performance in an energetic fashion. Also on the DVD is a marvelous rendition by James of the Ray Noble standard, The Touch of Your Lips. The lengthiest performance on both the CD and DVD is The Forever Variations, which the two collaborated with its varying changes in mood and tempo. The CD concludes with James’ arrangement for four hands of Bach’s Chorale From Cantata BWV 147.

The production quality of this is marvelous with marvelous sound to display the superb playing here. The video on the DVD is beautifully filmed and employs a variety of camera angles adding to the enjoyment of watching and listening to the concert performances here. In summary, Altair & Vega present marvelous music perhaps more oriented towards classical ears but certainly wonderful to simply relax and listen and watch.

This review appeared in the December 2011 – January 15, 2012 Jazz & Blues Report (Issue 339) at page 15. I received a review copy from the publicist for the release.