And…speaking of producers….
Creed Taylor!

Chet Baker
She Was Too Good To Me
CTI Masterworks
www.ctimasterworks.com

Kenny Burrell
God Bless The Child
CTI Masterworks
www.ctimasterworks.com

Freddie Hubbard
Red Clay
CTI Masterworks
www.ctimasterworks.com

Antonio Carlos Jobim
Stone Flower
CTI Masterworks
www.ctimasterworks.com

Hubert Laws
Morning Star
CTI Masterworks
www.ctimasterworks.com

Stanley Turrentine
Sugar
CTI Masterworks
www.ctimasterworks.com
By George W. Harris

Back in the early 1970s, producer Creed Taylor came upon the idea of
making jazz palatable to people who otherwise might have absolutely no
interest in the genre. What he did was take workmanlike artists like
George Benson, Stanley Turrentine, Kenny Burrell, etc, and put them in
a surrounding that was a bit more glossy and shiny. Then, he packaged
the discs in ultra hip album jackets that had very cool pictures on the
cover; so “boss” that you could actually order framed prints of them to
hang in your office. Image was a big deal, but it would have meant
nothing if the music was not up to speed.

The backup musicians were usually a core of guys like Ron Carter, Tony
Williams, Billy Cobham, Herbie Hancock, Benson, Bob James and a group
of woodwinds, percussionists and strings, all tastefully arranged by
Don Sebesky. At the time, some jazz purists ripped these albums, saying
that jazz had “sold out” to commercial tastes. 40 years later, after
re-acquainting myself with these records that introduced yours truly to
jazz, all I can wish for is a current label “selling out” in the same
vein. This music has aged amazingly well; the signature sound of
electric keyboards and swaying strings still sound light years ahead of
what’s currently being put out, and the tunes themselves, almost always
straight ahead jazz, is completely undiluted. The strings and winds
augment rather than detract from the songs. This initial reissue
collection comes from the original 2 track analog tapes, perfectly
replicating the original warm sound. I’ll review these discs, but just
FYI, you’re going to want them all!

Chet Baker, in 1974, was just beginning his comeback from “personal”
(read “major drug”) problems when he cut this disc with a dream team of
Paul Desmond/as, Bob James/p, Ron Carter’b, Jack DeJohnette-Steve
Gadd/dr, Dave Friedman/v and Hubert Laws/fl. With Desmond, Baker is
simply exquisite on the gently bopping “Autumn Leaves” that swings as
serenely as anything you’d ever want, and the pairing with Desmond’s
arid alto is one of the wonders of life. Baker’s voice is in great form
as well, as he croons “What’ll I Do” in a definitively despairing way,
along with a transcendent take of the title track. The rhythm section
is as forward thinking as you’d want, and the tug of war between them
and the strings makes this a wonderful texture of tones. Absolutely
essential.

Is there such a thing as a bad Kenny Burrell album? I certainly don’t
think so; every one has such a high standard of music. This one, though
is quite interesting in that in includes a pair of solo bonus tracks;
“Ballad Of The Sad Young Men” and “Lost In The Stars” are an oasis of
simplicity after the full sound created by Carter, Cobham, Hubbard,
Lawson/p, Wyands/p, Barretto/perc and a quintet of cellos. Together,
they sound gloriously bluesy on “Be Yourself” and”Do What you Gotta Do”
while the simple reading of the title track on this 1971 session is the
standard by which other versions are measured. Rich and deep hues of
indigo are painted here. Greater than great

Trumpeter Freddie Hubbard went through a myriad of phases and styles,
but when the chips are down, and you’re wondering which record to start
or end with, this 1970 session is usually the first call. Teamed with
Hancock, Carter, Lenny White/dr and Joe Henderson/ts. Hubbard’s tone is
just magisterial here, and his solos on this mix of advanced hard bop
and funk lets off steam like a pressure cooker. The classic title track
has one of Hubbard’s all time great solos, while “The Intrepid Fox”
isn’t too far behind. A very hep reading of John Lennon’s “Cold
Turkey,” as well as a second reading of “Red Clay” make up the bonus
tracks on this desert island disc. Why can’t all music be this good?

I don’t care what kind of jazz you like, or if you even HATE jazz with
a holy hatred; there isn’t a person alive who doesn’t just love Antonio
Jobim’s 1970 release. He was on a creative roll, having released
classics like Tide and Wave, but this one, with the extra jazz oomph
from Joe Farrell, Hubert Laws and some wondrous and sneaky strings by
Eumir Deodato, is the Brazilian Jazz high water mark. With a rhythm
section including Carter, Joao Palma/perc, Airto Moreira and Eumir
Deodato/g, Jobim delivers panoramic material like the title track
(which was covered by Carlos Santana) and the mysteriously moody “God
And The Devil…” and “Children’s Games.” His own piano playing is well
spotlighted on the standard “Brazil” which makes this disc a sonic
sensation. Nothing else out there like it.

Hubert Laws’ 1972 Morning Star is a followiup to his surprisingly
popular mix of jazz and classical predecessor (The Rite Of Spring),
which put the flutist on the musical map. Here, he’s with the team of
James, Carter, Cobham, Ralph MacDonald, John Tropea and a
brass/horn/string team , as well as some vocalists that sound just a
tad dated. Laws’ flute floats like a hawk on “Let Her Go” and a cooly
hip “Where Is The Love,” as well as a sanctified reading of “Amazing
Grace.” Beautiful and ethereal music.

You know that Stanley Turrentine’s 1970 Sugar was a definitive
recording when henceforth he’d be called “The Sugar Man.” The drawn
out, bluesy and smoky title track captures everything right about the
tenor giant. The gospel sound, the breathy tone, the field hollars,
they’re all there, and in glory. His take of Coltrane’s “Impressions”
is much more low ceilinged juke joint than the original, with Butch
Cornell’s B3, Lonnie Liston Smith’s electric piano, Billy Kaye’s drums,
and a team of Hubbard, Benson and Carter making the picture complete.
An extra bonus of “Gibraltar” as well as a 92 Octane concert take of
“Sugar” will make you want to take up the tenor; unfortunately, no one
can, or ever will, sound this good again. As eternal as the church
which influenced Turrentine’s sound to begin with.