Freddie Hubbard - 1973 - Sky Dive

Freddie Hubbard

1973

Sky Dive

01. Povo 12:33

02. In A Mist 7:04

03. The Godfather 7:21

04. Sky Dive 7:40

Bass – Ron Carter

Bass Clarinet – Phil Bodner

Bass Trombone – Paul Faulise

Clarinet – George Marge, Romeo Penque

Drums – Billy Cobham

Flugelhorn – Marvin Stamm

Flute – Hubert Laws

Flute [Alto] – Hubert Laws, Romeo Penque

Flute [Bass] – Hubert Laws

Guitar – George Benson

Oboe – Romeo Penque

Percussion – Airto, Ray Barretto

Piano, Electric Piano – Keith Jarrett

Trombone – Garnett Brown, Wayne Andre

Trumpet – Alan Rubin, Freddie Hubbard

Tuba – Tony Price

Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey, October 4 and 5, 1972

Freddie Hubbard's fourth CTI recording (and the second one with Don Sebesky arrangements) certainly has a diverse repertoire. In addition to his originals "Povo" and "Sky Dive" (both of which are superior jam tunes), the trumpeter stretches out on the theme from The Godfather and Bix Beiderbecke's "In a Mist." The charts for the brass and woodwinds are colorful; there is a fine supporting cast that includes guitarist George Benson, Keith Jarrett on keyboards, and flutist Hubert Laws; and Hubbard takes several outstanding trumpet solos.

I don’t know if the assembly-line tac­tics of the ubiquitous Creed Taylor label are paying off commercially, but judging by the speed with which they’re coming off the conveyor belt, I suppose they are. This is Hubbard’s second album for CTI, with another on the way; once again it shows that he’s never recovered from his years with the Jazz Messengers.

His recent residency at Scott’s had him bopping in old Blakey style, while this album embraces a hotch-potch of music­al contexts, ranging from funk-rock to Beiderbecke to Bossa Nova and back to Blakey – all of which suggests a schizo­phrenic rather than versatile attitude. Sadly, Hubbard is lost in a period he can’t come to terms with, while fellow Messengers have either thrown in their lot, contented themselves with the past, or, like Wayne Shorter, forged way ahead. But that’s another story.

Povo drags a Hubbard composition uneasily into up-dated rock. Introduced by a Gil Evans style spread, Carter opens with a simple bass riff which continues remorselessly through the number’s absurdly drawn-out length. The equally simple melody line covers what is basically a languorous early Shor­ter 12-bar composition; add some names like Cobham, Jarrett and Benson and you’ve got a track which does Creed Taylor proud. These presumably lucra­tively enticed session men are hardly enthusiastic, but at least the ball’s roll­ing.

Cobham does especially well by waking up occasionally to change em­phases and add off-beats, only to be forced back by clumsy bouts of orches­tration. Laws alone is trying, and he provides the only solo of any listenable worth. In his other composition, Sky Dive, a piece of Quincy Jones bossa-funk, Hubbard at least bursts into a healthy and sustained playing, in uncompromised tone, of his original style. The following breaks by Benson and Jarrett are just short enough not to steal the show.

Beiderbecke’s In A Mist makes as few bones about its wallowing Messengers treatment as much as Jarrett and Cobham are unafraid to parody a ten year-old Cedar Walton and Art Blakey back­up – which leaves one wondering idly if Hubbard directed them so, or, if not, whether he was aware of what was go­ing on behind his back. Lastly, yet an­other blood-transfusion of the love theme from The Godfather already again, in which a predictable arrangement and glossy orchestration is spared only by a few neat changes in tempo, a miniscule but authentic Jarrett introduction and a brief spell when Cobham, Jarrett and particularly Carter are permitted a couple of minutes trio work.

Stanley Turrentine - 1971 - Salt Song

Stanley Turrentine 

1971 - Salt

Song

01. Gibraltar 10:20

02. I Told Jesus 7:35

03. Salt Song 7:10

04. I Haven't Got Anything Better To Do 4:30

05. Storm 7:30

Arranged By, Conductor – Eumir Deodato

Bass – Ron Carter

Cello – Alan Shulman, Charles McCracken

Drums – Airto Moreira, Bill Cobham

Guitar – Eric Gale

Percussion – Airto Moreira

Piano, Electric Piano, Organ – Eumir Deodato, Horace Parlan, Richard Tee

Tenor Saxophone – Stanley Turrentine

Viola – Harold Coletta

Violin – Harry Katzman, Joe Malin, Julie Held, Julius Brand, Leo Kahn, Paul Gershman

Voice [Voices] – Brenda Bryant, Margaret Branch, Patricia Smith

Recorded at Van Gelder Studios

Recorded July, September, 1971

An amazing album from Stanley Turrentine -- quite different than most of his other sessions for CTI, but in a really great way! Stan's playing here with arrangements from Deodato -- in a swirling, Brazilian jazz influenced mode that's similar to their work together with Astrud Gilberto on her CTI album -- save for the fact that this set's all instrumental, with Turrentine's tenor in the frontline! The sound is wonderful -- soaring, swirling, and plenty darn soulful when Stan's tenor comes into play -- and in a way, the album's almost an instrumental companion to the Gilberto CTI album. Instrumentation includes some great keyboards from Deodato and Richard Tee -- plus guitar from Eric Gale

Stanley Turrentine's stint with Creed Taylor's CTI label may not have produced any out-and-out classics on the level of the very best LPs by Freddie Hubbard, Hubert Laws, or George Benson, but the bluesy tenorist's output was consistently strong and worthwhile for all but the most stridently anti-fusion listeners. Salt Song was Turrentine's second album for CTI, and while it's perhaps just a small cut below his debut Sugar, it's another fine, eclectic outing that falls squarely into the signature CTI fusion sound: smooth but not slick, accessible but not simplistic. In general, keyboardist Eumir Deodato's arrangements have plenty of light funk and Brazilian underpinnings, the latter often courtesy of percussionist Airto Moreira. The first three cuts are the most memorable, beginning with a ten-minute exploration of the abrupt time signature shifts of Freddie Hubbard's "Gibraltar." Though a hard bop version might have returned to the theme a little less often, Turrentine's solo sections are full of ideas, befitting one of his favorite pieces of the period; plus, guitarist Eric Gale shines as both a rhythm and lead player. The traditional gospel tune "I Told Jesus" features Turrentine at his bluesiest and earthiest, with snatches of ethereal choir vocals floating up behind him. Milton Nascimento's title track, naturally, has the strongest Brazilian flavor of the program, and Turrentine skillfully negotiates its frequent shifts in and out of double time. The 1997 CD reissue also includes Nascimento's "Vera Cruz" as a bonus track. All in all, Salt Song has dated well, partly because the arrangements don't overemphasize electric piano, but mostly on the strength of Turrentine's always-soulful playing.

Tenor sax player Turrentine has often tried to gain commercial success with the help of trendy producers / arrangers. Here he is produced by Creed Taylor, and his arranger is Deodato, but the sound is not as Brazilian as you would expect. Only Milton Nascimento's "Salt Song" and the bonus track "Vera Cruz" (by Nascimento, too) have a Brazilian flavor. "Gibraltar" is a tune made quite famous by his frequent partner Freddie Hubbard, "I Told Jesus" has Gospel overtones, as you might expect.

As this is a CTI production, many outstanding musicians play in this album: Ron Carter, Billy Cobham, Airto Moreira, Richard Tee, Eric Gale, Hubert Laws ... , the usual suspects.

Glossy easy-listening jazz, much better than today's so-called smooth jazz, not challenging but nice as background music; there are times we need some, don't we ?

Stan Getz - 1975 - Captain Marvel

Stan Getz

1975

Captain Marvel

01. La Fiesta 8:22

02. Five Hundred Miles High 8:07

03. Captain Marvel 5:08

04. Times Lie 9:36

05. Lush Life 2:26

06. Day Waves 8:41

Recorded with Chick Corea March 3, 1972, in A&R Studios, New York. Just a month after the recording session of Corea's "Return To Forever" album (February 2 & 3, 1972) in the same studio.

Bass – Stanley Clarke

Drums – Tony Williams

Electric Piano – Chick Corea

Percussion – Airto Moreira

Saxophone – Stan Getz

Wow. This has to be my favorite Stan Getz recording, easily. Getz took his Latin music into a whole different dimension with this one. The one-two percussion punch of Airto Moreira and Tony Williams keeps you moving. Bassist Stanley Clarke is certainly among the greatest to ever pick up the instrument. Keyboardist Chick Corea is at his best when playing more of a supportive and tinkering role, as he does for Captain Marvel. Stan Getz is his usual creamy smooth self but he almost gets fiery at times. Captain Marvel is certainly among the finest 1970s Jazz that I've heard. If any member of the band deserves the greatest credit for the success of the album it's drummer Tony Williams. Throw him in any setting, any whatsoever, and watch him thrive. The most ordinary moments of Captain Marvel are brilliant because of him. Drummers like Elvin Jones are great within their own little niche but Tony Williams consistently bestows unpredictable and spectacular playing onto the cosmos. He's in a league of his own.

Latin flavoured bliss, and who better to play latin than Chick Corea, Airto Moreira and Stanley Clarke, joining Tony Williams superb drumming and Stan Getz smooth, but sometimes fiery saxophone, on Captain Marvel. Stan Getz gives equal billing to all, especially Corea, this is a joint group endeavor, Corea wrote 5 of the 6 compositions, the lone one he did not write is a standard, 'Lush Life', which is the shortest track on the album, a moody slow number, the kind Getz does very well, but in saying that, kind of departs from the mood of the other 5 tracks and would have better been suited to put at the very end of side two. Side one is uptempo latin jazz with creative flare, especially kept tight by the percussion wizards Airto Moreira and Tony Willams drumming. Side two continues, beginning with Corea, Williams, Clarke and Moreira on 'Times Lie' with a long intro until Getz jumps in with some real sexy saxophone. A great track. I must mention Stanley Clarke as well, his bass playing stands out, in fact, everyone stands out on Captain Marvel, and all, are marvelous.

Latin flavoured bliss, and who better to play latin than Chick Corea, Airto Moreira and Stanley Clarke, joining Tony Williams superb drumming and Stan Getz smooth, but sometimes fiery saxophone, on Captain Marvel. Stan Getz gives equal billing to all, especially Corea, this is a joint group endeavor, Corea wrote 5 of the 6 compositions, the lone one he did not write is a standard, 'Lush Life', which is the shortest track on the album, a moody slow number, the kind Getz does very well, but in saying that, kind of departs from the mood of the other 5 tracks and would have better been suited to put at the very end of side two. Side one is uptempo latin jazz with creative flare, especially kept tight by the percussion wizards Airto Moreira and Tony Willams drumming. Side two continues, beginning with Corea, Williams, Clarke and Moreira on 'Times Lie' with a long intro until Getz jumps in with some real sexy saxophone. A great track. I must mention Stanley Clarke as well, his bass playing stands out, in fact, everyone stands out on Captain Marvel, and all, are marvelous.

Terumasa Hino - 1981 - Double Rainbow

Terumasa Hino

1981

Double Rainbow

01. Merry-Go-Round 14:58

02. Cherry Hill Angel 8:03

03. Yellow Jacket 4:40

04. Miwa Yama 6:18

05. Aboriginal 12:22

Bass – Anthony Jackson, Hassan Jenkins,Herb Bushler

Congas – Don Alias

Cornet – Terumasa Hino

Drums – Harvey Mason, Lenny White, Billy Hart

Electric Piano [Fender Rhodes] – Herbie Hancock, Kenny Kirkland, Mark Gray

Guitar – Butch Campbell, Lou Volpe,James Mason,Barry Finnerty, David Spinozza

Keyboards,Piano – Masabumi Kikuchi

Percussion – Airto Moreira, Don Alias, Manolo Badrena,Terumasa Hino

Soprano Saxophone – Steve Grossman

Lyricon – Sam Morrison

Harp – Emily Mitchell

Didgeridoo, Conch [Shell Horn] – Steve Turre

Double Bass – Eddie Gomez, George Mraz, Reggie Workman

Synthesizer – Kenny Kirkland

1st thing. Don't let your son design your record sleeve. Especially if he can't focus a camera. The music is excellent if you're in the mood, but that cover comes back to haunt. I covered mine with creosote. Now I can enjoy the music. This is not Jazz Fusion, don't be scared. It's almost slowcore .... find the right time.

An early 1980s recording with an assortment of former Miles Davis sidemen playing music in the style of early-1970s Miles, but with Terumasa Hino in the role of Miles, and without most of the tension that Miles was able to generate. It's not really bad, but remarkably uninvolving, and the music feels a bit like an anachronism (although I guess one has to be thankful that they didn't do a 1980s-style record à la Decoy or Tutu). Still, while this can serve as a nice reminder of things past, everyone involved here, including Hino, is capable of doing better.

Altogether interesting set. arranged by gil evans, players include miles-alumini airto, steve grossmann, don ailias and herbie hancock. sounds a lot like a straighter, more dancefloor-oriented take on miles mid-seventies works. not quite the masterpiece it might have been with this kind of cast, but a rewarding listen nevertheless.

Beautiful work from trumpeter Terumasa Hino -- an early 80s date that was issued in the US, but one that's got as much bold power and freewheeling soul as his Japanese releases from a decade before! The album's surprisingly open for the time -- not in the slicker mode that Columbia was hitting as they crossed over some of their 70s fusion players, but in spacious territory that has Hino blowing cornet, in larger arrangements from keyboardist Masabumi Kikuchi and Gil Evans -- the latter of whom seems to contribute a strong sense of color and tone to the album!

Wayne Shorter - 1969 - Super Nova

Wayne Shorter 

1969 

Super Nova

01. Super Nova 4:45
02. Swee-Pea 4:35
03. Dindi (pronounced "Jin-Jee") 9:45
04. Water Babies 4:50
05. Capricorn 7:45
06. More Than Human 6:10

Bass – Miroslav Vitous
Classical Guitar – Walter Booker (tracks: A3)
Drums – Jack DeJohnette
Guitar – John McLaughlin, Sonny Sharrock
Percussion – Airto Moreira
Soprano Saxophone – Wayne Shorter
Vibraphone – Chick Corea
Vocals – Maria Booker (tracks: A3)

Recorded at the A&R Studios, NYC, on August 29, 1969 (tracks A1, A2, B1, B2) and on September 2, 1969 (tracks A3, B3).

It was the summer of 1969, flower power was in the air, conventional hard bop was in serious trouble, and Wayne Shorter wrought the hipfest Super Nova in the company of a gaggle of guitarists and percussionists. Super Nova , while typical in many ways of jazz in 1969, is by no means the average Blue Note session or the average Wayne Shorter album, but it has its charms.

He had the help of a stellar lineup. Shorter’s soprano (he plays no tenor on this album) was complemented by guitarists John McLaughlin and Sonny Sharrock, who were joined by Walter Booker on one track; Miroslav Vitous on bass; Jack DeJohnette on drums and African thumb piano; Chick Corea, of all people, on drums and vibes (no piano); Airto Moreira on additional percussion; and Maria Booker singing on one track. An unusual lineup today, but not too head-turning alongside the likes of Miles Davis’ Bitches Brew or Pharoah Sanders’ Karma , which have more in common than is usually acknowledged, and were the sort of thing that turned heads back then.

"Super Nova" kicks off our love-in with a repeating motive from Shorter, who follows his figure down various paths and returns repeatedly to home base with an oboe-like Coltraneish tone, while behind him his guitarists and drummers bubble and churn. McLaughlin squeezes out an undistinguished solo (with Sharrock thrashing behind him), and then it’s back to Wayne, sounding more like Trane every second. "Swee-Pea" is oddly titled, for the title reminds me of the Popeye’s baby, but the track is the occasion of some beautifully touching playing from Shorter. Romantic and elegiac by turns, he is at his most affecting here. Miles bandmates Herbie Hancock, Ron Carter, and Tony Williams would have backed this one up capably, but the percussion and guitars create a shimmering backdrop that works quite well. "Dindi" takes us to a hooting, groaning rain forest, which is suddenly broken by, lo and behold, Maria Booker singing a soft Portuguese ballad a la Astrud Gilberto. Playing Joao to Maria’s Astrud is Walter Booker on classical guitar. Then it’s back to the rain forest. There doesn’t seem to be any rhyme or reason to the structure of this song, except that bossa nova was popular in 1969, and Maria’s part is nice. Shorter plays outstandingly all through this album, but especially on "Water Babies," where he is the only soloist. The sidemen get restless on "Capricorn," especially the drum corps, and Shorter’s soprano grows more sonorous to match them. His soprano preaches, brays, and warns; the drums churn and the guitars quiver, but never get solo time to speak of. Wayne is always at the center on this album. Not to take anything away from Wayne: he can pull it off, and does.

Super Nova is ultimately a period piece, although one may claim a wee place for it in history as an early rivulet of the now-mighty stream called World Music. Is it the revanchist success of Wynton Marsalis & Co. that makes it sound more dated today than Speak No Evil, Etc., or any of Wayne’s earlier, more conventional hard bop Blue Notes? T. S. Eliot observes that any new addition to a canon alters one’s perception of the all the existing members. With Etc. begetting numerous children and Super Nova relatively barren, is it any wonder that the latter album would now seem more remote?

Recorded just 8 days after the Bitches Brew session, many of the same artists from Bitches Brew appear here: saxophonist Wayne Shorter, guitarist John McLaughlin, drummer Jack DeJohnette, and pianist Chick Corea (playing drums and vibes on this!). Other Miles Davis alums appear: Brazilian percussionist Airto Moreira and acoustic bass player Miroslav Vitous (both later would become members of Wayne Shorter's Weather Report). The band plays new versions of 3 Shorter tracks previously recorded with Miles Davis (but not released until Water Babies in 1976). They are performed much better in this context. Though this is post-bop (stretching into free jazz)... it's far more melodic than the dark moody Bitches Brew. Highly recommended.

The Brecker Brothers - 1980 - Detente

The Brecker Brothers

1980

Detente

01. You Ga(ta Give It) (4:31)
02. Not Tonight (3:56)
03. Don't Get Funny With My Money (4:34 )
04. Tee'd Off (3:43)
05. You Left Something Behind (3:59 )
06. Squish (5:51 )
07. Dream Theme (5:40)
08. Baffled (5:22)
09. I Don't Know Either (5:49)

Randy Brecker / trumpet, flugelhorn (2,5,8,9), Prophet 5 synth (3), lead vocals (1,3)
Michael Brecker / tenor sax, flute

With:
- David Spinozza / guitar (1-3,7)
- Hiram Bullock / guitar (4-6,8,9)
- Jeff Mironov / guitar (1-3,7)
- George Duke / clavinet (2), Yamaha CP70 (3), Prophet 5 synth (4,7-9), Oberheim 4 synth (6), lead (1) & backing (2) vocals
- Mark Gray / Fender Rhodes (4,5,6,8,9)
- Don Grolnick / Yamaha CP70 (1,2), Fender Rhodes (7)
- Neil Jason / bass
- Marcus Miller / bass (1,3,7)
- Steve Jordan / drums
- Steve Gadd / drums (1-3,7)
- Paulinho Da Costa / percussion (1,3)
- Ralph MacDonald / percussion (2,5,7)
- Airto Moreira / percussion (6,8,9)
- D. J. Rogers / lead vocals (1)
- Carl Carwell / lead (1,2) & backing (2) vocals
- Sue Ann Carwell / backing vocals (2)
- Fonzi Thornton / backing vocals (1,3,5)
- Irene Cara / backing vocals (1,3,5)
- Paulette McWilliams / backing vocals (1,3,5)
- Ullanda McCullough / backing vocals (1,3,5)
- Luther Vandross / / backing vocals (1,3,5), vocals arrangements (3)

The epitome of cool, the Brecker Brothers were one of best-selling jazz fusion outfits of the mid-'70s to the early '80s. Randy Brecker (trumpet/flügelhorn) and Michael Brecker (tenor sax) were ubiquitous session players and also members of the New York band Dreams. By the mid-'70s, they started recording under their own name. Their subsequent albums, The Brecker Brothers, Don't Stop the Music, and the live Heavy Metal Be-Bop all find the group doing challenging melodies in a genre that often played it too stupid. Detente finds them during a time when jazz playing was starting to get more lucrative. Keyboardist and producer George Duke was behind the boards for Detente. Although the Brecker Brothers and Duke are probably mainstays in any jazz fusion collection, their styles aren't analogous. Some of the tracks here clearly prove that point. "You Ga (Ta Give It)" and "Not Tonight" both come off as a little too radio friendly. Not surprisingly, the best cuts here have both the classic intelligent Brecker Brothers sound as well as George Duke's production prowess. The sophisticated and funky "Tee'd Off" gets the Brecker Brothers on more familiar terrain and features a sinewy guitar solo from the underrated Hiram Bullock. The highly charged "Squish" and "Baffled" both display Randy Brecker's singular arranging skills. "Dream Theme," arranged by Michael Brecker, is the album's best song, reflective yet not melancholy, with his saxophone felt and flawless throughout. The last track, "I Don't Know Either," has solos from both of the Brecker Brothers, and displays the level of skill that many jazz outfits simply didn't possess. Detente features work from a litany of jazz players, including Neil Jason and Steve Jordan in addition to Duke. Despite a few lukewarm tracks, Detente is well worth picking up

Hubert Laws - 1974 - In The Beginning

Hubert Laws

1974

In The Beginning

01. In The Beginning 6:52
02. Restoration 8:57
03. Gymnopedie #1 3:58
04. Come Ye Disconsolate 5:19
05. Airegin 5:29
06. Moment's Notice 6:54
07. Reconciliation 10:06
08. Mean Lene 15:35

Bass – Ron Carter
Cello – George Ricci
Drums – Steve Gadd
Flute – Hubert Laws
Guitar – Gene Bertoncini
Organ, Strings – Richard Tee (tracks: B2)
Percussion – Airto
Percussion, Vibraphone – Dave Friedman
Piano – Bob James (tracks: A2, B1 to B3, C1, C2, D1), Clare Fischer (tracks: A1, D1), Rodgers Grant (tracks: D1)
Tenor Saxophone – Ronnie Laws
Viola – Emanuel Vardi

Violin – David Nadien

The release of a double album during the LP-era could be a double-edged sword. This format provided a platform for artists to elaborate on their ideas and serve a hefty portion of music to their fans and potential followers, but a single record forced musicians to self-edit a bit more, making them more likely to come out at the other end with a concise artistic statement. Flautist Hubert Laws' In The Beginning, hitting shelves again as part of the fourth wave of the CTI Masterworks reissue campaign, is the perfect example of an album that can be viewed from both sides of this issue. 

Some people regard this album as the crown jewel in Laws' catalog, but others would take the brevity and soulful beauty of an album like Morning Star (CTI, 1972) over this weighty package. A 63-minute listening affair wouldn't turn many heads today, with plenty of jazz releases going well-beyond that length, but even a label such as CTI, with its large-than-life attitude, didn't put together such bulging record packages very often. Taylor's affection for, and faith in, Hubert Laws was made clear with this release, and the flautist seized the opportunity and created one of the most diverse and wide-ranging statements that both he and CTI ever released. 

The title track is the perfect example of the multiple-personalities present in this music. This piece opens the album with a section of music that sounds like a meeting of free jazz and classical composer Anton Webern, arrives at a slow-and-bluesy place, and even touches on a funk feel along the way. In other places, Laws is more likely to hold firm to a single ideal, allowing rising-and-falling tides of energy and natural evolution to account for any changes in the topography of a performance. "Restoration"—which opens with some sensitive vibraphone work from Dave Friedman, contains a theme that comes off like an attractive bluesy version of an English carol, and heats up during Laws' solo—is a prime example of music built in this fashion. While newly arranged versions of classical music had become a predictable part of many CTI packages by the time this album was released, that fact doesn't diminish the beauty found on the performance of Erik Satie's "Gymnopedie No.1" here. 

Laws dips into the soul-gospel well for a performance of "Come Ye Disconsolate," which is buoyed by the organ work of session legend and Stuff band member Richard Tee, and the album reaches its climax with his nod toward tenor saxophonists Sonny Rollins and John Coltrane. Rollins' "Airegin" is a drums and flute affair, with Steve Gadd providing a busy bottom for Laws flute to work over; but Coltrane's "Moment's Notice," which features some fine saxophone work from the flautist's brother, Ronnie Laws, gets the whole band in on the action. 

If Laws had been forced to trim the length of the album, the final two tracks would have been likely victims, left to perish on the cutting room floor. The 10-minute long "Reconciliation" is more of a platform for soloing than anything else, and Laws' Brazil-to-Cuba journey with stop-overs in swing country ("Mean Lene"), while far more enjoyable than its predecessor, wears out its welcome with a 15-minute lifespan. After all is said and done, and despite the fact that the album roams long and far on certain pieces, In The Beginning still stands the test of time and can be viewed as one of the great achievements in the CTI catalog, and in the career of flute master Hubert Laws. 

Hubert Laws - 1971 - The Rite Of Spring

Hubert Laws

1971

The Rite Of Spring

01. Pavane
02. The Rite Of Spring
03. Syrinx
04. Brandenburg Concerto No.3 (First Movement)
05. Brandenburg Concerto No.3 (Second Movement)


Guitar – Stuart Scharf
Bass – Ron Carter
Bassoon – Wally Kane
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto Moreira
Piano, Electric Piano, Harpsichord [Electric] – Bob James
Producer – Creed Taylor
Vibraphone, Percussion – David Friedman

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster -- except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment.