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.

Freddie Hubbard's Straight Life

Straight Life is the latest reissue of Freddie Hubbard as part of Sony Music’s CTI Masterworks series celebrating 40 years of CTI. On this particular session Hubbard was joined by George Benson on guitar; Herbie Hancock on electric piano; Joe Henderson on tenor sax; Ron Carter on bass; Jack DeJohnette on drums; Richie ‘Pablo’ Landrum on percussion and Weldon Irvine on tambourine. The album has three songs that include two extended performances and one shorter interpretation of a standard.

There is a loose, jamming feel to the performances starting with the title track which is a Hubbard original on which Benson and Hancock take extended solos both built on repeated riffs with DeJohnette and percussion laying down the rhythm over which Hubbard seems to float above with his playing focusing on the middle. Irvine contributed Mr. Clean, is a mid-tempo cooker with a latin tinge as Henderson and Hubbard state its theme. Hubbard has a bit more heat in his playing and employing more of the upper register and is followed by some fervent playing from Henderson with Benson getting really gritty as well. The closing ballad, Here Comes That Rainy Day, is a lovely duet between Hubbard on flugelhorn with Benson on guitar. A nice conclusion to a reissue that may not be an essential part of Hubbard’s recorded legacy, but one with plenty of fire and cool.

I received a review copy from a publicist for the recording. Here is Freddie Hubbard at the DownBeat Awards performing Straight Life.

Freddie Hubbard's First Light Celebrated By CTI Masterworks Reissue

As part of its celebration of the 40th Anniversary of CTI Records, Sony has through the CTI Masterworks imprint reissued Freddie Hubbard’s First Light. First Light was a Grammy Award winning recording, and had Hubbard with a band that included drummer Jack DeJohnette, bassist Ron Carter, guitarist George Benson, pianist (acoustic and electric) Ricard Wyands, percussionist Airto Moreira along with a large orchestral horn and string section that included flautist Hubert Laws.

The title track certain is one of the high points here as it has some sparkling trumpet by the leader as well as some sizzling fretwork from Benson and flute from Laws with the orchestrated setting sweetening the sound to some extent in framing Hubbard’s playing with the music fading at the end. Following is a melodically rooted interpretation of Paul and Linda McCartney’s Uncle Albert/Admiral Halsey. The arrangements are uncredited although likely are by Don Sebesky as this performance suggests similar pop-jazz recordings by Wes Montgomery. Guitarist Benson adds some interesting guitar set against Wyands electric piano.

There is a lovely rendition of the Mancini/Mercer standard Moment To Moment, followed by very appealing muted playing on a Don Sebesky/ Norman Martin plaintive ballad Yesterday’s Dreams. The initial release concluded with some atmospheric playing on Lonely Town from the musical On the Town. On this reissue there are a couple of bonus selections that were not on the original recording. Cedar Walton’s Fantasy in D (Polar AC) from the same sessions that produced this album with Hubbard and the rhythm section exhibiting a bit more fervor and rhythmic pulse with Laws taking a flighty solo before Hubbard takes this out soaring with some more fire in his playing.

This particular reissue of First Light concludes with a lengthy live performance of the title track from Detroit in 1973 with Eric Gales on guitar, DeJohnette, Carter and an uncredited electronic keyboard player (Wyands?) on an extended performance that provides a fuller display of Hubbard’s dazzling brilliance and range. Gales takes a solo that exhibits his blues-inflected playing and DeJohnette takes a brief solo before Hubbard leads everyone out.

There is plenty of Freddie Hubbard’s often dazzling trumpet to be heard here, although there are some that may not be fans of the orchestrated settings for his performances.

My review copy was provided by a publicist for this release.

George Benson Goes Beyond the Blue Horizon

The first of George Benson’s CTI recordings was Beyond the Blue Horizon. It was recently remastered and reissued as part of the CTIMasterworks series that commemorates the 40th Anniversary of Creed Taylor’s label. This release is a straight-ahead date with a band that included organist Clarence Palmer, bassist Ron Carter and drummer Jack DeJohnette with percussionists Michael Cameron and Albert Nicholson adding some musical accents.

A pretty hot rendition of So What kicks this set off with Benson displaying why he has been so highly regarded as a guitarist mixing chords and single note runs in his imaginative playing here. Palmer acquits himself quite well on the Hammond B-3 with Carter and DeJohnette swinging as one would expect. It is followed by Luis Bonfa’s The Gentle Rain (From The Film The Gentle Rain), which opens with some spacy sounding organ before Benson states the theme displaying his precise and measured touch before launching his almost free form solo.

Benson’s All Clear is built around some bright chords and its light, bouncy feeling anticipates the title track of what would be his crossover smash album, Breezin’. His solo builds up quite some steam as Palmer adds interesting sonic effects in his comping. Ode to a Kudu is a lovely original ballad from Benson while Somewhere in the East opens with lively percussion that Benson plays some repeated riffs against before the entire ensemble joins in with Benson taking off on an extended solo.

This release concludes with alternate takes of the last three numbers, the most interesting being the alternate of Somewhere in the East which is about three minutes longer than the issued take. Like other CTI releases in this series, this was beautifully recorded and mastered. Recordings such as this one that have led to Benson enjoying a reputation of one of the great jazz guitarists of the past several decades.

This was received from a publicist.

George Benson's Spanish Flavored White Rabbit

George Benson was already an established guitarist when he signed with Creed Taylor and CTI Records. As part of the 40th Anniversary of CTI Records, Sony has issued on CTI Masterworks White Rabbit, an album that situated the guitar in the flamenco-tinged arrangements of Don Sebesky. The musicians on this session included Herbie Hancock on electric piano, Ron Carter on bass, Billy Cobham on drums, and Airto on percussion. Hubert Laws was part of the larger band and added a solo to the title track.

The title track was a remarkable adaptation of the Jefferson Airplane song and sets the tone to the album. The underlying groove of Grace Slick’s original lends itself to the flamenco inspired setting as the trumpet conjures the bullring, and Benson’s guitar initial evokes the flamenco masters before he takes his solo. It is followed by Herbie Hancock who rips off a startling solo punctuated by the horns which is then followed by Laws' solo. The rendition provides an energetic start to this recording.

Of course White Rabbit is not the only pleasure to be heard here. Theme From 'Summer of 42' provides a quieter mood as Benson states the theme with Jay Berliner's acoustic guitar helping set the mood while Hancock's electric piano establishes a foundation for Benson's solo. Little Train (from Bachianas Brasileiras #2) has a lively Brazilian feel with Airto adding a wordless vocal in addition to percussion. California Dreamin' opens with a Flamenco flavor and a lush Sebesky arrangement that mixes in Harp with the woodwinds and brass over which Benson's agile, fleet solo rides as Berliner chording behind him.

This disc concludes with Benson's El Mar, which also has a similar Spanish (or perhaps Moorish) flavor. It is built upon a slightly dramatic motif and apparently was Earl Klugh's debut recording. Klugh plays acoustic guitar here. Like the rest of the album, this is wonderfully recorded and remastered so for example one can hear the sizzle and crackle from the drums and Airto's percussion as well as very clearly and distinctly. This was recorded by Rudy Van Gelder and while Van Gelder was apparently not involved with remastering these reissues, the clarity of the sound does justice to the wonderful music heard here.

My review copy was provided by a publicist.

Adolphus Bell's Entertaining One Man Band Blues

The Music Maker Relief Foundation has been a boon to practitioners of southern musical traditions which has enabled a number of individuals to gain recognition as performers and also meet their day to day needs including emergency medical and housing assistance, purchasing and repairing musical instruments, recording the performers and issuing the recordings, and presenting artists in concerts around the world.


Adolphus Bell, One Man Bell, is among recent releases by the Foundation and features the one-man band from Birmingham, Alabama. While born in Birmingham, he grew up in Pittsburgh where he learned guitar from George Benson. Frustrations from dealing with band members led him start playing as a one-man band, playing drums, harp and guitar while singing. Over the years of playing the streets he has developed a lively performance style as indicated on the opening The One Man Band, where he introduces the various members of the band.


Bell displays a fondness for a couple of songs associated with Bobby Bland including You Got to Hurt Before You Heal and the Bill Withers classic that is such a part of Bland’s live show, Ain’t No Sunshine, along with the vocal group classic, Cherry Pie, the Motown classic, (I Need Some) Money, and Sam Cooke’s Let the Good Times Roll. Other songs are originals like Ever Had the Blues and some topical numbers, Child Support Blues, Passport Blues and Black Man’s Dream. The latter number has a message that America better get things together or it is gonna be in for dark times.


Musically, Bell brings a soulful singing style mixed with some witty banter. His accompaniments often are simple and nicely delivered with a Jimmy Reed-flavored grooves. He adds some spare single note fills and takes some solos as well, mixing in some comments and replies as he performs. Despite the valuable documentation of a number of performers, I have found some Music Maker Foundation releases to be uneven. This however, is one of the better recent releases and its nice to have another one-man band to join such long-gone legends as Jesse Fuller, Dr. Ross and Juke Boy Bonner.


This may be in some stores, and cdbaby.com does offer many releases of artists of the Music Maker Relief Foundation. You can also obtain this from the Foundation’s website, www.musicmaker.org, which has full information on their mission and all of the marvelous recordings and books they offer. You will be getting some fine music and helping deserving artists.


This review appeared originally in the April 2006 DC Blues Calendar and April 2006 Jazz & Blues Report (issue 282). I have made some minor editorial changes. I have been a long time supporter of the Music Maker Relief Foundation and likely received this in my capacity of a donor to the organization.