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

DC Jazz Festival Picks for June 4

Kris Funn

This is the fourth post I am making to highlight some of the shows associated with this year’s DC Jazz Festival. I am specifically not highlighting the DC JazzLoft Fest since I have posted on this already. I will may also pick a few other shows around the DC Virginia area that should not be overlooked. I am posting this a day ahead of the date of performances.

At 6:00 PM, the Kennedy Center Millennium Stage will feature bassist Kris Funn. This Baltimore, Maryland native is currently a member of trumpeter Christian Scott’s Band. He currently leads Kris Funn & Corner Store. which also features drummer Quincy Phillips of the Roy Hargrove Quintet. The band features Funn’s blues-battered bass lines, rocking originals, and dramatically danceable revisions of John Coltrane and Sam Cooke tunes.

The Kennedy Center at 7:30 hosts Jazz Meets The Classics with the Classical Jazz Quartet featuring Kenny Barron, Stefon Harris, Ron Carter, Lewis Nash; Paquito D’Rivera Sextet; Pepe Rivero; Michael Phillip Mossman and Pernell Saturnino. This is the signature concert featuring a number of NEA Jazz Masters.

Jonathan Batiste

The Hamilton hosts a show with groups led by pianist Jonathan Batiste and bassist Ben Williams. Batiste is a member of the celebrated Batiste Family of New Orleans and with Henry Butler, and Davell Crawford, is among the leading contemporary proponents of the New Orleans piano tradition. But he is so much more as indicated by his performances with Roy Hargrove's Big Band, Wynton Marsalis, Cassandra Wilson and others and has issued several albums. Bassist Ben Williams is a Washington DC native who won the Theloious Monk International Competition for Bass in 2009. He has performed with such artists as Wynton Marsalis, Terence Blanchard, Roy Hargrove, Mulgrew Miller, Cyrus Chestnut, Ron Blake, Stefon Harris, Karreim Riggins, Hamiett Bluett, James Williams, Bobby Watson, and Winard Harper. His recently issued the excellent album State of Art on Concord Jazz.

The Bohemian Caverns Jazz Orchestra has its weekly performance at the Bohemian Gardens. For information of them visit http://www.bohemiancavernsjazzorchestra.com/live/.


For more information visit http://www.dcjazzfest.org/content.cfm/schedule_and_major_events.

DC Jazz Festival Picks For June 1

This is the first post I am making to highlight some of the shows associated with this year’s DC Jazz Festival. I am specifically not highlighting the DC Jazz Loft Fest since I have posted on this already. I will may also pick a few other non festival shows around the DC Virginia area that should not be overlooked. I am posting this a day ahead of the date of performances.  For more information visit http://www.dcjazzfest.org/content.cfm/schedule_and_major_events.

The legendary bassist Ron Carter at the Bohemian Gardens for the first of two nights at this legendary DC club. Ron Carter may have recorded more than any bass player in history (he is on over 2000 albums) who first came to notice as part of the last great Miles Davis Quintet, and recorded with Eric Dolphy, Esther Phillips, Freddie Hubbard, Gil Evans and countless others.

Akua Allrich and Randy Weston trio at the Hamilton. The Hamilton, a relatively new venue in the Penn Quarter area, is across E Street from the Williard Hotel. Randy Weston has a recording career that now extends into its seventh decade and with deep roots in blues as well as the music of Monk and Bud Powell was among those pioneering by incorporating the music of Africa in his music. Here is Randy Weston playing his celebrated Little Niles.

Kristine Key is one of the DC area’s fine jazz vocalists and will be performing at the Mandarin Oriental Hotel. Below she is pictured at the 2011 Mid-Atlantic Jazz Festival where she portrayed Billie Holiday in a theatrical production, Sistas Can Sa-a-ng.

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.

DC Jazz Festival Brings 10 Days of Jazz To The Nation's Capital

Ron Carter

The 2012 DC Jazz Festival takes place in the Nation’s Capital June 1 and runs through June 10. The Festival this year will have a variety of signature programs including Jazz Meets the Classics at the Kennedy Center; Jazz in the ‘Hoods at a variety of clubs and museums, presented by Events DC; Jazz’‘n’ Families Fun Days at The Phillips Collection; Jazz at the Hamilton presented by The Washington Post; and Jazz at the Howard.

Jazz Meets the Classics, co-presented by the Kennedy Center on June 4th, will feature an all-star lineup performing unique and exciting jazz interpretations of works by Bach, Chopin, Mozart, Rachmaninoff and Tchaikovsky. Headlining the concert is the Classical Jazz Quartet, with NEA Jazz Masters bassist Ron Carter and pianist Kenny Barron, vibraphonist Stefon Harris and drummer Lewis Nash. Also headlining is NEA Jazz Master and 10-time Grammy Award-winner Paquito D’Rivera, joined by Spain’s Pepe Rivero Trio, Michael Phillip Mossman and Pernell Saturnino.

Lena Seikaly

The Jazz in the ‘Hoods program highlights the innovative CapitalBop D.C. Jazz Loft, Bohemian Caverns, and more than 80 performances at over 40 museums, clubs, restaurants, hotels, and galleries across the city with performers like Loide, Michael Thomas, Mark Prince, and Rodney Richardson with Lena Seikaly. The D.C. Jazz Loft Series, presented by Capital Bop, returns to spotlight some cutting edge music and will span 3 days including an all day manifest on June 9. Performers include Marc Cary’s Cosmic Indigenous; Tarbaby, featuring Orrin Evans, Nasheet Waits. Eric Revis; and the Todd Marcus Nonet. I will hopefully have a separate post on Capital Bop’s DC Jazz Loft Series separately.

Elijah Balbed

The free annual Jazz ‘n’ Families Fun Days at The Phillips Collection on Saturday, June 2nd and Sunday, June 3rd will treat families to performances from some of the finest musicians from around the region, including Marianne Solivan, Victor Provost, the Herman Burney Trio, and the Elijah Balbed Quartet. Jazz at the Hamilton, the Festival’s main venue, will feature 10 nights of performances with such noted artists as Randy Weston, Monty Alexander, Roy Hargrove, Jimmy Heath, David Sanchez, Les Nubians, Antonio Hart, Cyrus Chestnut, Jonathan Batiste, Ben Williams, Etienne Charles, John Scofield, Roberta Gambarini, and Marshall Keys.

Jimmy Heath

Jazz at the Howard celebrates the tradition of jazz in D.C. at the newly restored and reopened historic Howard Theatre. Headline artists include multiple Grammy Award-winning vocalist Dianne Reeves and famed Italian guitarist Pino Daniele. The Festival also hosts a performance by the dazzling clarinetist and saxophonist Anat Cohen at the Sixth & I Historic Synagogue, and six concerts co-presented by the Kennedy Center at the Millennium Stage featuring artists such as Malika Zara, the Bohemian Caverns Jazz Orchestra, and Origem.  There is plenty of terrific jazz in a variety of musical flavors for the casual and discerning music lover at the 2012 DC Jazz Festival.

Roy Hargrove

The DC Jazz Festival (DCJF) is the largest music festival in Washington, D.C. A project of Festivals DC, Ltd., a 501 © (3) non-profit organization, the DCJF is one of the most highly-anticipated cultural events in the nation’s capital. The DC Jazz Festival is sponsored in part with a grant from the National Endowment for the Arts (NEA), and by the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts. For more information about the DC Jazz Festival and upcoming programs, visit www.dcjazzfest.org.

All photos © by Ron Weinstock

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.

Stanley Turrentine's "Salt Song" Part of Celebration of 40 Years Of CTI

Part of the celebration of the 40th Anniversary of CTI, Sony through its CTI Masterworks imprint has issued Salt Song by Stanley Turrentine. CTI was a good choice to showcase Turrentine’s blues-rooted attack and soulful sound and at this July 1971 recording he was joined in Rudy Van Gelder’s Studios by a band that included Ron Carter, Bill Cobham, Airto Moreira, Horace Parlan, Richard Tee and Eric Gale, among others

Freddie Hubbard’s Gibraltar is a straight-ahead swinger that showcases Turrentine warm, robust playing. Eric Gale’s blues tinged guitar provides a nice second solo voice with Airto adds percussion accents. The traditional gospel number I Told Jesus employs strings and a vocal chorus with Gale’s spare, bluesy guitar providing a foil for Turrentine’s vocalized tenor sax. Milton Nascimento’s title track has a Brazilian flavor with a lightly swaying groove as Turrentine solos vigorously. Turrentine, in addition to his blues roots (from the days touring with bluesman Lowell Fulson), was a superb ballad player as exhibited on I Haven’t Got Anything Better to Do, with strings added to presumably add a lush background. Turrentine’s atmospheric “Storm” closed out the original release. A bonus track is a lively boss nova, Vera Cruz from the album, Gilberto With Turrentine, with a fuller band having full flute and full string sections and arrangement by Emir Deodata.

This is a typically solid recording by Turrentine in a straight-ahead vein. While there was some sweetening to some of the music heard here, it was not done heavy-handedly and the result is a recording that sounds fine four decades later.

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

Miles Español Celebrates Miles Davis and the Afro-Latin Influence On Jazz

Miles Español is the title of a two-CD recording on Entertainment One Music that was conceived and produced by Bob Belden with a roster of internationally renowned artists. Subtitled New Sketches of Spain, the disc includes fresh renditions of compositions from Sketches of Spain and Kind of Blue, and original compositions from some of the contributing artists.

Among the more than 30 musicians assembled are Chick Corea, Ron Carter, Jack DeJohnette, John Scofield, pianist Chano Domingez, drummer Alex Acuña, flautist Jorge Pardo, Sonny Fortune, Gonzalo Rubalcaba and Rabih Abu-Khalil. Some of the musicians are former Miles sidemen, some are flamenco masters from Spain, some are from North Africa, and some are prominent figures in New York’s Latin Jazz scene. Tim Hagans, Scott Kinsey, and Vince Wilburn Jr. (Miles Davis’s nephew). One purpose of this recording is to emphasize the Africa-Spain-New World Connection in the emergence and evolution of jazz as is titled Doug Ramsey’s essay in the liner booklet, taking us from Jelly Roll Morton to Chano Pozo and Dizzy Gillespie and reminding us of the impact the Moors had during their occupation of Spain.

Belden himself in his notes here states that in his treatment of some compositions such as Concierto De Aranjuez, he did not wanted to mimic Miles’ recording but rather help develop the Gypsy and Arabic influence on Spanish music and his unusual instrumentation that includes oboe and bassoon in addition to oud, dumbek and cajon to allow this fresh hearing of a classic. Chick Corea’s Trampolin follows with Ron Carter and Antonio Sanchez joined by flautist Jorge Pardo on the buoyant flamenco inspired piece.
Just Three Miles is by Rabih Abu-Khalil whose oud playing and trumpet by Tim Hagans provide an intriguing mix of Berber and other sounds. Duende is a duet between guitarist Niño Joseles and flautist Pardo with a strong flamenco base. It’s followed by the marvelous Gonzalo Rubalcaba on Fantasia Por Miles Y Gil, listed as a solo piano performance in the booklet, but he clearly is accompanied by bass and drums (Carter and Sanchez?).

Similarly on what is supposed to be a piano trio plus percussion, Edsel Gomez’s Paisaje Urbano has an unidentified soprano saxophonist (Sonny Fortune?) who dances above Gomez’s Latin jazz piano. The unusual instrumentation continues on Saeta/ Pan Piper, with its employment of bagpipe in addition to woodwinds and French horns and trumpets with the harp of Edmar Casteñada standing out among the percussion with a bassoon solo by Mike Rabinowitz framed by riffing muted trumpets.

Jack DeJohnette’s Spantango opens the second disc with unidentified flute (Jorge Pardo?) along with Chano Dominguez’s spectacular piano, Eddie Gomez’s bass, DeJohnette‘s and Luisito Quintero’s congas. It is followed by a rendition of Miles’ Flamenco Sketches with Sonny Fortune’s flute and Jerry Gonzalez’ flugelhorn in addition to more piano from Dominguez. Gonzalez is outstanding in his spot, and like most of this recording the performance highlights percussion over orchestration. Tirititran Catalan is a traditional theme that bassist Carles Benavent arranged that spotlights Niño Joseles acoustic guitar and Corea’s piano followed by another selection that showcases Corea with a guitarist, John Scofeld’s El Swing, with Scofeld’s single note runs standing out with DeJohnette being outstanding providing rhythmic accents. Rubalcaba’s Momento has a ruminative quality while Miles’ Teo/ Neo showcases Edsel Gomez’s piano with John Benitez on bass, Alex Acuña on drums and Sammy Figueroa on congas supporting his effervescent playing.

By the close of Solea, again with an expanded ensemble with woodwinds, brass, harp and accordion, one has listened to a variety of performances that freshly explore not simply the music that Miles recorded five decades ago, but a more contemporary presentation of some of those elements that provided inspiration then and continues to provide a source for fresh musical invention. While the list of personnel in the booklet contains some errors, musically there can be no fault whatsoever found on this thoroughly engaging recording.

My review copy was provided by a publicist or the record label. The review originally appeared in the November 2011 Jazz & Blues Report (Issue 338).  To that review I add this youtube video of the recording of this album.  

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.

Sunflower is a Milt Jackson CTI Masterwork

Milt Jackson's Sunflower (CTI Masterworks) was among the initial batch of CDs to celebrate the 40th Anniversary of CTI Records. This recording dates from late 1972 and had the great vibes played joined by a band that included Herbie Hancock on piano, Ron Carter on Bass, Billy Cobham on drums, Ralph McDonald on percussion, and Freddie Hubbard on trumpet. In addition there is a string section and classically oriented horns (alto flute, English horn, oboe, piccolo) on some of the tracks with Don Sebesky's arrangements on a re-mastered, remixed and re-edited reissue.

Jay Berliner's flamenco-styled guitar sets the mood on Jackson's For Someone I Love, with Jackson and Hubbard playing with lovely restraint on this ballad. What Are You Doing The Rest of Your Life, by Michel Legrand, and Alan and Marilyn Bergman also displays Hubbard melodic side with immaculate support with the strings creating a dreamy cushion. Hancock switches to electric piano for interpretation of The Stylistic's hit, People Make the World Go Round, providing a base for the solos by Jackson and Hubbard before taking a lengthy one himself. Hubbard contributed the lilting title track on which strings reappear and it is followed by a Milt Jackson blues, SKJ, the most straight-ahead performance here with plenty of heat generated. It is performances like this one that really get this writer’s juices going.

Sunflower may be a bit sweet at spots for this writer's taste, but it is strongly played and easy to listen to.


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

Ron Carter's Masterful CTI Classic "All Blues"

Sony Masterworks has reissued in the USA, Ron Carter's All Blues, in a CTI-40th Anniversary Edition remastered from the original two-track analog tracks. It is presented in a softpack sleeve that replicates the original vinyl LP and iconic cover design. Carter, one of the greatest bassists in the history of jazz, was joined on this CTI session by a group that included Sir Roland Hanna on piano, Joe Henderson on tenor saxophone and Billy Cobham on drums with Richard Tee playing electric piano on one track. This 1973 session was originally issued in 1974 at a time when Carter may have been at his greatest popularity.

From the personnel listed above, one should not be surprised that this is a marvelously played collection of mostly blues related compositions. There is the elegant piano of Roland Hanna, the clean tenor sax of Henderson, the firm anchor of Carter and his bass with Cobham swinging. The performances come across as very precisely played with a chamber group feel to some extent. This is noticed on the opening, A Feeling, a brisk finger snapping number, deftly performed. This is followed by Light Blue, where Hanna spare playing sets the mood on this tone poem before joined Cobham's light percussion and Carter's bass.

On 117 Special, Richard Tee's electric piano sets forth a dreamy mood under Henderson's saxophone lead. Henderson plays with a breathy tone, but little other tonal embellishment. He is followed by Carter for a thoughtful piccolo bass solo. Rufus starts as a trio performance, with Henderson and Carter engaging in a dialogue with Cobham adding embellishments and accents before Hanna enters with light, swinging, piano.  The centerpiece is  Miles Davis’ All Blues, on which Carter states the theme followed by Henderson whose solo builds with intensity with Cobham superb in support. Hanna's piano provides a brief bridge before Carter solos at length. Carter is unaccompanied for a remarkable performance on Will You Still Be Mine.

Ron Carter's All Blues was immaculately played with thoughtfulness and elegance. While this writer might have preferred a bit more grit and fire during this blues-centered recording, one can appreciate the grace and skill exhibited. The remastering for CTI's 40th Anniversary enables all of the nuances of the performances here to be appreciated.

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

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.

CTI Masterworks Reissues Jim Hall's Concierto

As part of the 40th Anniversary of CTI Records, Sony through its CTI Masterworks imprint has reissued a remastered edition of guitarist Jim Hall’s Concierto. This 1975 release had Hall with a group that included Sir Roland Hanna on piano, Ron Carter on bass, Steve Gadd on drums, Paul Desmond on tenor saxophone and Chet Baker on trumpet. It was a collection of swinging, small group performances mixed with a rendition of Concierto De Aranjuez, the Joaquin Rodrigo composition that was a central part of Miles Davis’ classic collaboration with Gil Evans, Sketches of Spain. Don Sebesky, instead of orchestral arrangements, set it up for the sextet on this date.

The result is a solid album of what would have been considered mainstream jazz at the time. This swinging group played with a clean, cool tone perhaps best exhibited by the dry martini alto of Desmond and Baker’s tart, lyrical style thatcomplemented Hall’s own spare and lyrical style. There is almost a cool, chamber music quality to these performances which is not completely surprising given Hall spent time as a member of Chico Hamilton’s unique quintet that included cello and Buddy Collette or Paul Horn.

Cole Porter’s You’d Be Nice To Come Home To, opens with Hall and the rhythm before Desmond enters followed by Baker who provides counterpoint during Desmond’s solo before taking a solo that focuses on his middle-range and continues the melodic qualities of this performance. Hall’s Two Blues is a brisk Hall original with Baker soloing before Hall takes the spotlight mixing single note runs with carefully voiced chords while the lovely The Answer Is Yes, was contributed by Jim’s wife Jane on which Hall’s solo is almost a duet with Carter as Hanna adds occasional chord voicings and Gadd lightly propels the groove.

As indicated, the centerpiece of this album is the sextet rendition of Concierto De Aranjuez. WIth a hint of flamenco in Hall’s guitar, it is followed by Baker, evoking but not imitating Miles, and then Desmond enters with Baker weaving his trumpet around the alto. Obviously the feeling is quite different than provided by the Gil Evans orchestral arrangements with focus no longer simply on the trumpet. The recording is marvelous as with Hanna’s lead, Hall takes the first extended solo backed by the economical and quiet playing by Carter and Baker (along with Hanna’s spare comping) allows one to focus on how he constructs his solo and his deft use of a horn-like tone. Desmond follows with a hint of blues in his dry, songbird tone. Chet Baker’s solo is a bit freer than Miles’ playing on Sketches (which we know today that part of Miles’ solos were actually written parts), and fits the pensive playing of the others. Hanna follows with a solo and then Hall returns. Its captivating listening to the sweet lyricism that this group displays, although the performance does not reach the exhilarating peaks of Davis’ recording or the recent revisiting of it by Harmonie Ensemble New York.

Included on this release are two bonus tracks, the Ellington-Strayhorn Rock Skippin’ at the Blue Note, and the Hall-Carter collaboration Unfinished Business was not on the original release. The former is a delightful quartet performance whose melody seems linked to Just Squeeze Me, while the latter brings out the lyricism of Hall, Carter and Desmond. Alternate takes, but not necessarily lesser performances, of the first three selections are also included to provide over an hour of music. As stated above, this was wonderfully recorded by Rudy Van Gelder, and while the latest Japanese reissues of this material has been remastered by Creed Taylor and Van Gelder and likely may be better sonically, the Sony reissues still sound wonderful. Concierto is an album of straight-ahead jazz that is substantial, quite lovely sounding and still sounding fresh and contemporary.

My review copy was provided by a publicity firm for the release.

Bits and Pieces for June 7, 2010

Today, I was at Barnes & Noble in downtown Washington, DC, and they had new issues of two magazines that I find to be amongst the most interesting publications devoted to music available.

waxpoetics is a fascinating publication that has devoted issues to jazz, funk, reggae and most recently, hiphop which does seem to be its anchor. The current issue (#41) has pieces on KRS-One, Ice-T and Ice Cube along with a record rundown from Easy Mo Bee that runs from otis Redding to Sly and the Family Stone, James Brown, Love Unlimited Orchestra and Kraftwerk. The website is waxpoetics.com, and you can download a playlist with each issue.

Signal to Noise is subtitled “The Journal of Improvised, Experimental & Unusual Music,” and covers a wide range of musical styles in its articles, as well as reviews of festivals and other live performances, recordings, videos and books. What that means is that one can fine coverage of cutting edge music in what is called jazz, contemporary composed music, progressive rock and allied disciplines. Not to say that they forego traditionally oriented artists as the current issue has a review of the Carolina Chocolate Drops but the features include a story on bassist Henry Grimes who played with Sonny Rollins and Roy Haynes as well as Albert Ayler and Pharoah Sanders before disappearing until being rediscovered a few years ago with his career being revived. Another article focuses on “The Art of Noise,” on Poster art associated with Creative Improvised Music for performances by such artists as Kalaprusha, Carla Bley Big Band, Charles Gayle & William Parker and Milford Graves, AIr, Sun Ra, The Residents, Peter Brotzmann and the Vandermark Five. With extensive review section it is a quarterly that should be of interest to anyone into improvised music. Website is www.signaltonoisemagazine.com.

Finally on a recording note, I have been listening today to a marvelous album by saxophonist Houston Person, Just Between Friends (HighNote) that is an album of duets with the great bassist Ron Carter. Person has somehow escaped receiving the acclaim that he deserves among living tenor saxophonists, perhaps because of his association with acid jazz or the late vocalist Etta Jones. As the intimate duets with Ron Carter, Person is a master of ballad playing who makes the songs sing with his tone and phrasing. The beauty of his playing makes up for the generally slow tempos as its a delight to listen to the interplay between these two jazz masters as they handle such standards as “Darn That Dream,” “Lover Man,” “Lover Come Back To Me,” “Blueberry Hill,” “Polka Dots and Moonbeams,” and “How Deep Is The Ocean.” He will be appearing in Montreal when I am up there for the Montreal Jazz Festival, and I certainly hope to see him live after all these years.

For the purpose of FTC regulations, I purchased the two publications and I believe I purchased the Person recording.