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 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'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.

Prelude By Deodato More Than Theme From 2001

Brazilian born Emuir Deodato is primarily remembered for his 1972 orchestral recording of Also Sprach Zarathustra, the Richard Strauss composition that was known as the theme from the Movie 2001. Deodato adapted the Strauss composition from symphonic form to more contemporary tastes with his insistent and creative electronic piano, John Tropea’s twisting, rock-toned guitar solo, Stanley Clarke’s electric bass solo, and the latin flavored percussion of Airto and Ray Barretto.

Deodato’s recording of the Strauss theme was a Grammy winner in 1974 for Best Pop Instrumental Performance. Not a bad achievement for someone who as a teenager working for a local rock band was asked to arrange for a recording session orchestra. By 1967, he had moved to the United States, and wrote for American studios and was contributing arrangements for Astrud Gilberto, contributed three charts to Wes Montgomery's Down Here on the Ground, and was soon working for major names in several fields including Aretha Franklin, Bette Midler, Frank Sinatra.

As part of the celebration of CTI’s 40th Anniversary, Sony Masterworks has issued Prelude, the album that included Also Sprach Zarathustra and was CTI’s biggest hit. Remastered from the original two-track audio tapes, it presents the familiar Strauss number with five other instrumentals. Spirit of Summer is one of his compositions that is a lovely big band number with an Jay Berliner acoustic guitar solo and I( assume Hubert Laws taking) a short flute break. Carly and Carole, has a playful feel opening with a lovely flute ensemble and Deodato’s electric piano to state the theme over the percussion before Deodato takes an engaging and dreamy solo.

Ron Carter in on acoustic bass for much of this release except is on electric bass for the bouncy Baubles, Bangles and Beads as Billy Cobham, on drums, keeps the groove moving while Tropea adds some driving guitar in addition to Deodato’s imaginative and lively arrangement. Hubert Laws is featured on Claude Debussy’s Prelude to the Afternoon of a Faun, first setting the mood on the opening moments and taking the initial solo when the performance speeds up. The disc concludes with the funky September 13 that Deodato and Billy Cobham collaborated on. The rhythm section provides a strong, percolating groove over which the horns and guitarist Tropea make statements.


Prelude was Deodato’s most successful recording displaying his marvelous arrangements in addition to a superb studio orchestra. He would produce other albums, none as successful as this and later worked more as an arranger and producer with the likes of Kool & the Gang. While this reissue is relatively short (a tad over 32 minutes for the six performances), it is another example of the wonderful audio qualities of CTI recordings that enhance listening to the music included.


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