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The CTI Years 1970-1973 (2CD)

The CTI Years 1970-1973 (2CD)

BY Hubbard, Freddie

(Customer Reviews)
$21.00
$ 12.60
SKU: HH3066CD
Label:
Hi Hat Records
Category:
Jazz
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"Freddie Hubbard, the CTI Years 1970-1973. When top jazz trumpeter Freddie Hubbard began recording for the CTI label in the early 1970s, he combined his mastery of bop with forays into fusion and imaginative interpretations of contemporary rock and soul hits. With more than two hours of music, this two CD compilation showcases Hubbard at the head of several lineups at four different concerts, broadcast on different radio stations: WRSU-FM, WBCN-FM, and KCUV-FM. Hubbard performs songs from his popular albums Red Clay (1970), First Light (1971), and Straight Life (1971). It is presented here, digitally remastered, with background notes and images."

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  • "Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction." - All Music Guide
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  • "None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Davis; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Davis rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. The groove gets nastier and nastier as the track carries on and never quits, though there are insertions by Macero of two Davis takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Davis, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Davis' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero." - Allmusic
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  • "A New Frontier sees Howe returning to the trio format with son Dylan on drums and Ross Stanley on organ, in an outing he’s explored in the past. His live schedule with Yes and his solo career keep him inordinately busy to the extent that it’s been over a decade since he’s done something on record with a trio. The Haunted Melody of 2008 was the last artefact of Howe in trio format, although we can now add New Frontier to a catalogue that surely is one of the most varied and thorough of any modern rock guitarist. You don’t see the likes of Clapton and Page seeking the sort of outlet that Howe has continued to do across six decades.It feels like a nod to new age-y meanderings that set things up with Hiatus where Howe decorates the shuffling rhythm and organ stabs with his usual fluency. Inevitably, there is a tendency to look for little runs or passages that might have been at home on a Yes record. The lengthier Left To Chance contains what could easily have been a guitar figure that might have suited Yes making a reappearance until a jazzy mood emerges. However, flitting between a combination of styles shouldn’t be surprising as it has always been Howe’s strength and the key feature of his contributions to the pioneering work he did in the Seventies before going more A/MOR with Asia.Son Dylan has shown he can lay down a solid beat for Wilko Johnson and again keeps his rhythms and accompaniment simple, as the organ lines that I inevitably associate with that grand old Nicholas Parsons landmark TV show, Sale Of The Century, crop up frequently. In Zodiac, the thoughts shift from this week’s instant sale to Keith Emerson before the trio go cabaret jazz. It might be a challenge for some of us as Howe takes his followers on a circuitous path that winds and crosses familiar territory, and there are occasions when you feel you’re on the same wavelength before the organ interjects and shimmies across.What does come across strongly is the motivation to keep playing, keep things interesting and, let’s face it, Steve Howe has nothing to prove. Even though it’s an acquired taste, New Frontier finds him doing what he enjoys and what he does best." - Louder Than War
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  • "In an odd bit of programming, Columbia placed the ballads from Miles Davis' February 12, 1964, concert on My Funny Valentine and the uptempo romps on this LP. Davis, probably a bit bored by some of his repertoire and energized by the teenage Tony Williams' drumming, performed many of his standards at an increasingly faster pace as time went on. These versions of "So What," "Walkin'," "Four," "Joshua," "Seven Steps to Heaven," and even "There Is No Greater Love" are remarkably rapid, with the themes quickly thrown out before Davis, George Coleman, and Herbie Hancock take their solos. Highly recommended and rather exciting music, it's one of the last times Davis would be documented playing a full set of standards." - Allmusic
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  • "Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles -- this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors -- it all merges together, pointing toward the dense soundscapes of Miles' later '60s work. It's such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it's intended as a tribute to Miles' then-wife, Cicely Tyson (whose image graces the cover)." - All Music Guide
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  • "ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet -- saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories -- a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality -- they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On ESP, they tilt a bit toward conventional hard bop (something that's apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early '60s is remarkable. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock's calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums." - Allmusic
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  • "Art Blakey & The Jazz Messengers, live at the 9th Annual Chicago Jazz Festival on September 5th 1987Art Blakey's band was unofficially known as the 'finishing school of jazz', with celebrated players including Hank Mobley, Freddie Hubbard, Donald Byrd, Lee Morgan, Chuck Mangione, Wayne Shorter, Keith Jarrett and Wynton Marsalis passing through its ranks over the decades. Blakey continued to play and tour right up to the end of his life.The superb sets here were recorded at the 9th Annual Chicago Jazz Festival on September 5th 1987 and broadcast on NPR radio the following year.They are presented together with notes and images."
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  • "Unlike most sequels, Time Further Out is a worthy successor to Time Out. Among the numbers introduced on this impressive set are "It's a Raggy Waltz" and "Unsquare Dance" (the latter an ancestor of Don Ellis' "Pussy Wiggle Stomp"). The selections, which range in time signatures from 5/4 to 9/8, are handled with apparent ease (or at least not too much difficulty) by pianist Brubeck, altoist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello on this near-classic." - Allmusic
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  • ""In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this CD, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps to Heaven," "Joshua," and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home." The 20-bit remastered version issued by Sony's Legacy imprint in 2005 includes two rather startling bonus tracks from the original sessions that were not included on the LP or previous CD releases; they are the beautiful "So Near, So Far," and "Summer Night."" - All Music Guide" - All Music Guide
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