Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Two More Unlikely Gems from the CTI Archive

The reissues keep coming from the CTI vaults. Creed Taylor’s influential 1970s West Coast jazz label may be remembered for fusion, but the fact is that they put out some amazing albums. The highlight of the latest batch is Freddie Hubbard’s improbable 1971 First Light, with George Benson, Ron Carter, Jack DeJohnette, Airto Moreira, Phil Kraus on vibes and Richard Wyands on keyboards plus an orchestra. Something this casually lavish could only have occurred in the 70s – especially for a jazz trumpeter who wasn’t likely to sell ten thousand albums. Did anybody make money on this project? Doubtful. But it was worth it many times over. After all the mysterioso atmospherics fade down, the eleven-minute title track is essentially a two-chord vamp over a tense son montuno beat: Hubbard works it thematically and judiciously, pretty remarkable considering that you can practically smell the ganja wafting from under the door at Rudy Van Gelder’s New Jersey studio. The orchestra’s thousand butterfly wings flutter, announcing choruses and solos, Benson goes lickety-split to bring the energy up a notch and turns it over to Hubbard until it’s obvious that he’s out of gas.

The cover of Paul McCartney’s odious Uncle Albert/Admiral Halsey is deviously funny, Hubbard distancing himself from the cloying opening riff at the first turn and turning it into a diptych of one-chord funk jams, Benson unable to do much with it so he hits the same riffs again and again. If you ever suffered through the original in the supermarket or via lite FM radio, the trick ending will make you laugh. It’s amazing how they take Henry Mancini’s Moment to Moment and mix funk, a boozy ballad vibe and an orchestra; the cover of Yesterday’s Dreams is the piece de resistance here, done as brooding bossa nova, orchestra magically interpolated with big swells at just the right moments. Leonard Bernstein’s Lonely Town gets a subtle 1971 LA noir treatment; the rest of the album includes both an outtake (another vampy one, Cedar Walton’s Fantasy in D) and an expansive 1975 live take of the title track with Carter, DeJohnette and not Eric Gales on guitar, as the liner notes indicate, but an uncredited and quite agile Rhodes player.

Another choice pick from the CTI vaults is George Benson’s Beyond the Blue Horizon, also from 1971. It’s a similarly unexpected treat: a Hammond B3 album that’s about as far from Breezin’ as…hmmm, Kind of Blue is from Bitches Brew. Here Rev. Benson is backed by Clarence Palmer on organ plus a rhythm section of Carter and DeJohnette. They take So What as a swinging shuffle, Benson running through the raindrops, Carter bobbing and weaving as DeJohnette works an almost martial beat. Luiz Bonfa’s The Gentle Rain is bossa as Jimmy McGriff might do it, Palmer’s swift, brooding intensity shifting it to more of a tango before the storm subsides and Benson reemerges with a smile.

The rest of the album is Benson originals. All Clear has a warm, grazing-in-the-grass soul groove, followed by the atmospheric, catchy, gently swaying Ode to a Kudu. The last, Somewhere in the East, is a real eye-opener, probably the most “free” that Benson has ever been captured on vinyl, Carter’s steady groove anchoring Carter and Benson as they hammer and bend, sometimes atonally. Three outtakes are included as well: All Clear done more as a straight-up B3 shuffle; an even more ethereal guitar-and-drums take of Ode to a Kudu and a surprisingly straightforward Somewhere in the East: it’s something of a shock that this jaunty swing version, with its biting, rumbling outro wasn’t chosen for the album instead. Both of these are back in print, for a long time let’s hope, on CTI Masterworks.

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May 5, 2011 - Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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