Stanley Turrentine with Milt Jackson - Cherry (1972) [+ Bonus]

This 1972 CTI date by Stanley Turrentine was his third for the label, and was produced by Creed Taylor with Rudy van Gelder at the board. Shockingly, Don Sebesky was not called in to arrange anything here. The band chosen to back up Turrentine's edgy, soulful tenor is a fine and diverse one, especially in the heyday of the fusion years: Milt Jackson on vibes, drummer Billy Cobham, pianist (electric of course) Bob James, Ron Carter on bass, and guitarist Cornell Dupree. 

The opener is Lee Morgan's "Speedball," played as a near straight-ahead hard bop barnburner, with a killer little vamp in the melody that is accented and filled by both Bags and James alternating bars. This is followed by a fine is not exceptional read of Johnny Mercer's "I'll Remember You," though Jackson's vibe solo that opens the tune and offers the lead into the melody is quite moving. Jackson's own "The Rev's" is a bluesed-out strut, with Turrentine, James, and Bags holding through the lead riffs before Turrentine digs deep into his soulful bag for a brilliant solo that runs over the bluesology of the old masters -- Dexter Gordon and Ben Webster most notably. But it is the last half of the album that holds the real beauty, with the title track framed by two Weldon Irvine Jr. classics, "Sister Sanctified" and "Introspective" as the closer. Irvine arranged his own tunes, and they are far more wondrous and strange than anything in the CTI catalog. "Sister Sanctified," a deep gospel with repetitive choruses and assertive lead lines, has James playing a gospel piano more reminiscent of Abdullah Ibrahim than himself. Cobham shoves the beat to the margin, double- and triple-timing in places while never leaving the pocket of the groove. Turrentine's solo, especially in the bridge, is phenomenal, guttural, and nearly squalling. "Introspective" is a loping post-bop blues. The long, intricate melody lines are perfectly suited to the complex sense of lyricism that is Turrentine's strength. The more general figures and accents are picked up by Jackson, and Cobham slips through and around the chances in a Latin-styled dance to hold the middle and bring in the blues feel. It's phenomenal and sends this session off on a high note. Recommended. ~ Thom Jurek, All Music Guide. 

CTI Records, CTI 6017, 1972
CBS Records, ZK 40936, 1988 

Recorded 17th, 18th & 24th May, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Stanley Turrentine - Tenor Saxophone
Milt Jackson - Vibraphone
Bob James - Piano, Electric Piano
Cornell Dupree - Guitar
Ron Carter - Bass
Billy Cobham - Drums

Tracks:
1. Speedball {Lee Morgan} (6:40)
2. I Remember You {Johnny Mercer, Victor Schertzinger} (5:10)
3. The Revs {Milt Jackson} (7:46)
4. Sister Sanctified {Weldon Irvine Jr.} (6:04)
5.. Cherry {Ray Gilbert, Don Redman} (5:10)
6. Introspective {Weldon Irvine Jr.} (7:00)
7. The More I See You {Harry Warren, Mack Gordon} (7:58) [Bonus Track] 

Total Time: 45:52 

Credits:
Producer - Creed Taylor
Reissue Producer, Liner Notes - Didier C. Deutsch
Recording Engineer - Rudy van Gelder
Mastering - Tim Geelan
Arranger - Weldon Irvine Jr. (#4,6)
Design [Album] - Bob Ciano
Photography [Cover] - Pete Turner

DR14

Sister Sanctified

Donald Harrison - The Ballads (2009)

"Mr. Harrison turned out to be one of the most musicologically literate jazz players to come out in ages." ~ New York Times. 

"Donald Harrison Jr. … the most interesting, most accessible, and most talented musician in the country right now." ~ East Bay Express. 

"… one of the more innovative bandleaders New Orleans has produced in the past 20 years." ~ Chicago Tribune. 

--------------------------------------------------

Nagel Heyer Records, CD 9010, 2009
Recorded 2001 - 2008 in New York City and New Orleans 

Musicians:
Donald Harrison - Alto Saxophone
Christian Scott - Trumpet (#1,2,5,6,7)
Mulgrew Miller - Piano (#5,6,7)
Eric Reed - Piano (#1,2)
Victor Gould - Piano (#8,9)
Jesse McBride - Piano (#10)
Ron Carter - Bass (#3,4)
Vicente Archer - Bass (#1,2)
Luques Curtis - Bass (#5,6,7)
Max Moran - Bass (#8,9,10)
John Lamkin - Drums (#1,2,5,6,7)
Billy Cobham - Drums (#3,4)
Joseph Dyson - Drums (#8,9,10) 

Tracks:
01. Strange Day {Eric Reed} (7:46)
02. Swept From The Sea {John Lamkin} (5:31)
03. My Funny Valentine {Richard Rodgers, Lorenz Hart} (8:12)
04. Candlelight {Ron Carter} (6:33)
05. Summertime {George Gershwin} (9:28)
06. Cool Breeze {Donald Harrison} (5:20)
07. Sincerely Yours {Donald Harrison} (9:26)
08. They Can't Take That Away From Me {George & Ira Gershwin} (5:46)
09. If I Were A Bell {Frank Loesser} (6:32)
10. To Nola With Love {Donald Harrison} (9:49) 

Total Time: 74:23 

Notes:
#1,2 - Real Life Stories (2002) Nagel Heyer [2022]
#3,4 - Heroes (2004) Nagel Heyer [2041]
#5,6,7 - Survivor (2006) Nagel Heyer [2068]
#8,9,10 - The Chosen (2008) Nagel Heyer [2084]

Donald Harrison, Ron Carter, Billy Cobham - Heroes (2004)

Donald Harrison, who gained his initial recognition in the 1980s when he was with Art Blakey's Jazz Messengers and co-led a band with Terence Blanchard, has continued growing and evolving ever since that time. Though underrated, he is currently at the peak of his powers. Harrison worked with bassist Ron Carter, drummer Billy Cobham, and pianist James Williams in a 2002 quartet called the Art of Four. He reunites with Carter and Cobham for five selections on Heroes and also engages in three duets with the bassist. Whether it is a minor blues ("One of a Kind"), the "I Got Rhythm" chords of "Double Trouble," "Solar," or the melancholy "Candlelight," Harrison shows that he is a superior post-bop improviser with a sound of his own. The final three selections, listed as "bonus tracks," have Harrison performing a funk piece, a calypso, and a mistitled Thelonious Monk tune ("Well, You Needn't" is listed as "Straight, No Chaser") in spirited fashion with bassist Vicente Archer and drummer John Lamkin. This CD is one of Donald Harrison's most rewarding showcases to date and is highly recommended. ~ by Scott Yanow, AMG. 

Nagel Heyer Records, nagel heyer 2041, 2004
Recorded 1st & 2nd December, 2002 at Avatar Studios, New York 

Musicians:
Donald Harrison - Alto Saxophone
Ron Carter - Bass
Billy Cobham - Drums
Vicente Archer - Bass (#9-11)
John Lamkin - Drums (#9-11) 

Tracks:
01. Heroes {Donald Harrison} (6:14)
02. Blues For The New Millennium {Donald Harrison} (4:12)
03. My Funny Valentine {Richard Rodgers, Lorenz Hart} (8:12)
04. One Of A Kind {Donald Harrison} (5:53)
05. Double Trouble {Donald Harrison, Ron Carter} (8:01)
06. Receipt Please {Ron Carter} (5:59)
07. Candlelight {Ron Carter} (6:33)
08. Solar {Miles Davis} (3:57)
09. Free Style {Donald Harrison} (4:43) *
10. Iko Iko {James Crawford} (3:11) *
11. Well, You Needn't {Thelonious Monk} (8:06) * 

Total Time: 65:06 

 * Bonus Tracks 

Credits:
Producer, Photos - Frank Nagel-Heyer
Recording Engineer - Jim Anderson
Assistant Engineer - Aya Takemura
Mastering, Mixing - Florian Sommer
Cover - Woellergestaltung, Hamburg
Liner Notes - Ted Panken 

Heroes

Billy Harper - Capra Black (1973)

Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.  ~ by Jason Ankeny, AMG. 

Strata-East Records, SES-19739, 1973
Bellaphon International, 660.51.022, 1993 

Personnel:
=========
Billy Harper - Tenor Saxophone, Voices
Jimmy Owens - Trumpet
Julian Priester - Trombone
Dick Griffin - Trombone
George Cables - Piano
Reggie Workman - Bass
Billy Cobham - Drums
Elvin Jones - Drums
Warren Smith - Drums
-----------------------------
Barbara Grant - Voices
Eugene McDaniels - Voices
Laveda Johnson - Voices
Pat Robinson - Voices 

Tracklist:
=======
Capra:
1. Capra Black (11:22)
2. Sir Galahad (8:08)
3. New Breed (4:34)
Black:
4. Soulfully, I Love You / Black Spiritual Of Love (9:39)
5. Cry Of Hunger (10:49) 

All Compositions by Billy Harper 

Total Time: 44:33 

Credits:
Producer, Arranger - Billy Harper
Engineer - Orville I'Brien
Photography - Richard Mayeda
Digital Transfer - Phil Klum 

This album is dedicated to Lee Morgan and to Kenny Dorham (who inspired my uncle-who inspired me), and the many other messengers who have passed this road before me. ~ Billy Harper. 

Capra Black

Miroslav Vitous - Purple (1970) [vinyl]

An interesting early fusion mélange, very open settings, Vitous overdubbing electric, or even electric piano, everybody leaves a lot of space in the music for the others, like a Bitches Brew stripped down to the very essence. The complete line-up is only on part of the album. It is totally different from his US debut Infinite Search, which is powerplay, in comparison - Purple is not exactly restrained or thoughtful, but takes its time much more. Somewhere in between In a Silent Way and the first Weather Report. On side one, Zawinul on Rhodes, Vitous on acoustic and Cobham play the title track, which is a rocky Vitous original (some bowed bass solo overdubbed), and Ron Carter's Mood. I like Zawinul better here than on any other album, I must admit. Side two starts with McLaughlin, Vitous on electric bass and piano (overdubbed), and Cobham doing Water Lilie, which could have made it to Weather Report's first LP as far as the mood is concerned; Shorter's Dolores with just Vitous and Cobham, two basses, arco overdubbed, similar to Mountain in the Clouds from Infinite Search; and Vitous' It Came From Nowhere, an experimental rockish track with Vitous and Cobham, both oberdubbing electric piano and a second drumset. ~ mikeweil, organissimo.org. 

CBS/Sony Records, SOPC 57101-J, 1970
Recorded 25th August, 1970 At Apostolic Studio, New York City 

Musicians:
Miroslav Vitous - Bass, Electric Piano (#B1,B3)
Joe Zawinul - Electric Piano (#A1,A2)
John McLaughlin - Guitar (#B1)
Billy Cobham - Drums

Tracks:
A1. Purple {Miroslav Vitous} (9:33)
A2. Mood {Ron Carter} (7:25)
B1. Water Lilie {Miroslav Vitous} (8:52)
B2. Dolores {Wayne Shorter} (4:09)
B3. It Came From Knowhere {Miroslav Vitous} (5:11) 

Total Time: 35:10 

Credits:
Producer - Miroslav Vitous
Engineer - David Baker
Photography - Yuzoh Satoh 

"I made that album after Infinite Search. I was working with David Baker, the engineer, and was experimenting with different musicians and material. I had Billy Cobham, John McLaughlin and Joe Zawinul there. They experimented with me. After six months, I thought I had enough material and put together an album. I think there is some excellent music on it. Purple was made before Weather Report started, but you can already hear some material that we later played with the band. There’s a song called "Water Lily," which has an identical skeleton to a piece we recorded with Weather Report called "Morning Lake." There’s another Weather Report piece called "Seventh Arrow" that was also on Purple. There was a development of the material on Purple that ended up in Weather Report. It was a stepping stone." ~ Extract by Miroslav Vitous, innerviews.org.

Robin Kenyatta - Gypsy Man (1972) [vinyl]

Sweet electric funk from Robin Kenyatta - but a set with some slightly complicated moments too! The album's a bit like some of Yusef Lateef's more electric moments on Atlantic, although probably not as cerebral overall - and Robin plays a range of reeds, including alto, flute, and soprano sax - the last of which is the best fit for the record, as Kenyatta plays it with a nicely snakey sort of style! Most tracks have a strong mix of keyboards and guitar - the former played by either Larry Willis or Pat Rebillot, the latter by David Spinoza or Keith Loving. Stanley Clarke plays bass on most of the set, and there's definitely some of his influence going on here too - and one track features added vocals by Robin and Lalome Wahsburn. Deodato arranged a version of "Last Tango In Paris" - and other titles include "Gypsy Man", "Melodie Chinoise", "Werewolf", "Another Freight Train", "Seems So Long", and "Reflective Silence". © Dusty Groove, Inc.

Atlantic Records, SD 1633, 1973

Recorded & Mixed in September & October, 1972 at The Hit Factory, N.Y.

Personnel:

Robin Kenyatta - Soprano & Alto Saxes, Flute, Vocals

Al Deville - Trumpet (#B2)

Seldon Powell - Saxophone (#B2)

George Patterson - Saxophone (#B2)

Jack Philpot - Saxophone (#B2)

Larry Willis - Electric Piano

George Butcher - Piano, Organ

Pat Rebillot - Piano, Organ

Charles ‘Skip’ Pitts - Guitar [Wah Wah] (#A1)

David Spinozza - Guitar

Jimmy Wood - Guitar (#B2)

Keith Loving - Guitar

Stanley Clarke - Bass, Electric Bass

Ray Lucas - Drums (#A1)

Billy Cobham - Drums

Charles Collins - Drums

Rick Marotta - Drums

Ralph MacDonald - Percussion

Don Belamy - Vocals (#A1)

Lalome Washburn - Vocals

Tracks:

A1. Last Tango In Paris (Gato Barbieri} (4:49)

A2. Another Freight Train {Robin Kenyatta} (3:36)

A3. Werewolf {Robert W. McPherson} (4:26)

A4. Reflective Silence {Robin Kenyatta} (5:19)

B1. Seems So Long {Stevie Wonder} (3:52)

B2. Gypsy Man {Robin Kenyatta} (5:22)

B3. Melodie Chinoise {Robin Kenyatta} (5:45)

B4. I've Got Dreams To Remember {Otis Redding, Zelma Redding} (6:16)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Harry Maslin

Arranger - Eumir Deodato (#A1), Robin Kenyatta (#A2,A4-B4), Robert W. McPherson (#A3)

Photography [Backliner] - Penny Scherr

Photography [Cover] - Joel Brodsky

Design - Haig Adishian

Grover Washington, Jr. - All The King's Horses (1972) [vinyl]

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kudu imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well - especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous - and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington - who could inject pure soul into even the dullest music of Lawrence Welk - is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions. ~ by Thom Jurek, AMG.

Kudu Records, KU-07, 1972

Recorded 19^th May-June, 1972 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington, Jr. - Alto Saxophone, Tenor Saxophone

Alan Rubin, Ernie Royal, Snooky Young, John Frosk, Marky Markowitz, Marvin Stamm - Trumpet, Flugelhorn

Paul Faulise, Tony Studd, Wayne Andre - Trombone

Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge - French Horn

George Marge - Alto Saxophone, Flute, English Horn, Oboe, Recorder

Pepper Adams - Baritone Saxophone

Arthur Clarke - Baritone Saxophone, Flute

Bob James - Electric Piano, Harpsichord

Richard Tee - Organ

Cornell Dupree, David Spinozza, Eric Gale - Guitar (#A1-B1,B3)

Gene Bertoncini - Guitar

Ron Carter - Bass

Gordon Edwards - Bass (#A1)

Bernard Purdie - Drums

Billy Cobham - Drums (#A4,B2,B3)

Ralph MacDonald - Congas

Airto Moreira - Percussion

Strings:

Margaret Ross - Harp

Charles McCracken, George Ricci - Cello

Emanuel Vardi, Richard Dickler - Viola

Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff,
Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle,
Max Ellen, Paul Gershman - Violin

Tracks:

A1. No Tears, In The End {Ralph MacDonald, William Salter} (3:49)

A2. All The King's Horses {Aretha Franklin} (3:48)

A3. Where Is The Love {Ralph MacDonald, William Salter} (5:07)

A4. Body And Soul [Montage] {Heyman, Sour, Eyton, Green} (3:02)

B1. Lean On Me {Bill Withers} (4:25)

B2. Lover Man {Jimmy Davis, Jimmy Sherman, Roger Ramirez}

      Interlude #2 {Bob James} (7:01)

B3. Love Song 1700 {Adapted ex Henry Purcell, Arr. Bob James} (4:51)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography [Album] - Pete Turner

Stanley Turrentine - The Baddest Turrentine (1974)

A 4-track "best of compilation" from Stanley Turrentine’s hit years at CTI! If you know the man's tone, you know that he found a perfect home at CTI - where arrangements by the likes of Bob James or Eumir Deodato provided Stanley with a perfect foil for his warm exploratory blowing. The set list features Stan's great funky reading of Marvin Gaye's "Don’t Mess With Mr T", plus his classic reading of "Sugar" and the tracks "Speedball" and "Salt Song".

CTI Records, CTI 6048 S1, 1974

Recorded November, 1970 (#A1); July 1971 (#A2); May 1972 (#B1)

& June, 1973 (#B2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Stanley Turrentine, Randy Brecker, Joe Farrell, Pepper Adams, Bob James, Eric Gale, Ron Carter, Idris Muhammad, Milt Jackson, Cornell Dupree, Billy Cobham, Eumir Deodato, Freddie Hubbard, Lonnie Smith, George Benson ...

Tracks:

A1. Sugar {Stanley Turrentine} (10:03)

Released on: Sugar [CTI 6005]

A2. Salt Song {Milton Nascimento} (7:12)

Released on: Salt Song [CTI 6010]

B1. Speedball {Lee Morgan} (6:37)

Released on: Cherry [CTI 6017]

B2. Don't Mess With Mister T. {Marvin Gaye} (9:49)

Released on: Don't Mess With Mister T. [CTI 6030]

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Artwork - Bob Ciano

Photography - Alen MacWeeney

Gene Ammons - Big Bad Jug (1973) [vinyl]

Jug's big and bad here in tone - and the style is nicely complicated at times - a bit more open-ended and electric than before, with a sound that's almost like the shift that Stanley Turrentine was making during his years at CTI! There's still a bit of the previous Prestige funk in the mix - thanks to drums from Billy Cobham, and organ from Sonny Phillips - but the group also includes up-and-comer Maynard Parker on guitar, who gets in some nicely snakey lines at times - slinking through the tunes with a warmly chromatic edge that's mighty nice, and which sets the tune for some of Ammons' more laidback solo moments. His tenor's still as strong as ever, though - blown with a beautiful sense of tone, on tracks that include "Lady Mama", "Big Bad Jug", "Lucille", "Fly Me", and "Fuzz" - plus a nice version of "Papa Was A Rolling Stone" with a sweetly gentle break! © Dusty Groove, Inc.

Prestige Records, P-10070, 1973

Recorded 28th (#A4,B3) & 30th October (#B1) and 1st November, 1972 (#A1,A2,A3,B2)
At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Gene Ammons - Tenor Saxophone

Hank Jones - Electric Piano (#A4,B1,B3)

Sonny Phillips - Electric Piano, Organ (#A1-A3,B2)

Ernest Hayes - Organ (#A4,B1,B3)

Maynard Parker - Guitar (#A1-A3,B2)

Joe Beck - Guitar (#A4,B1,B3)

Ron Carter - Bass, Electric Bass

Billy Cobham - Drums (#A1-A3,B2)

Idris Muhammad - Drums (#A4,B3)

Micky Roker - Drums (#B1)

Tracklisting:

A1. Lady Mama {Gene Ammons} (6:48)

A2. I Can't Help Myself {Brian Holland, Lamont Dozier, Edward Holland} (4:10)

A3. Lucille {Harold Vick} (4:53)

A4. Fly Me {Ron Lockhart, Richard Druz} (3:08)

B1. Big Bad Jug {Gene Ammons} (7:47)

B2. Papa Was A Rolling Stone {Norman Whifield, Barrett Strong} (4:31)

B3. Fuzz {Dave Grusin} (4:27)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Photography - Tony Lane

Freddie Hubbard - Polar AC (1975) [vinyl>flac]

Trumpeter Freddie Hubbard's sixth and final CTI studio recording has its moments although it is not on the same level as his first three. Hubbard, backed on four of the five songs by a string section arranged by either Don Sebesky or Bob James, is assisted on songs such as "People Make the World Go Round" and "Betcha By Golly, Wow" by flutist Hubert Laws and guitarist George Benson. "Son of Sky Dive" showcases his trumpet with a sextet including Laws and tenor-saxophonist Junior Cook. The music is enjoyable but not essential and this LP has yet to appear on CD. ~ by Scott Yanow, AMG.

Released in 1975, this was Hubbard's final release for Creed Taylor's CTI Records. It's a luxuriant, strongly orchestrated, but very accessible piece of jazz. Don Sebesky and Bob James alternate the orchestrations and arrangements. Hubbard's playing is outstanding, at the same time much solo space is allocated to flautist Hubert Laws; added to the mix is guitarist George Benson and George Cables on the Rhodes. A genuine highlight is "People Make the World Go Round" arranged by Bob James. It begins with Airto performing some unusual animal noises and percussion sounds contrasted with flourishes on the Rhodes by Cables. On the title track "Polar AC", Ron Carter throws in some vivacious bass playing whilst Jack DeJohnette is heard working the snares and cymbals against the rich the orchestral arrangements of Don Sebesky; which Hubbard weaves in and around with some amazing solos. There is a lot of pleasure to be found on this LP with further spins. Well Recommended.

CTI Records, CTI 6056, 1975

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Freddie Hubbard - Trumpet

Hubert Laws - Flute

George Benson - Guitar (#A1-B1)

Junior Cook - Tenor Saxophone (#B2)

George Cables - Piano (#A2,B2)

Ron Carter - Bass

Alan Rubin, Garnett Brown, Marvin Stamm, Paul Faulise,
Tony Price, Wayne Andre - Brass (#B1)

George Marge, Phil Bodner, Romeo Penque, Wally Kane - Woodwind (#B1)

Billy Cobham - Drums (#B1)

Jack DeJohnette - Drums (#A1)

Lenny White - Drums (#A2, B2)

Airto - Percussion (#A2, A3)

Strings:

Al Brown, Charles McCracken, Harold Kohon, Irving Spice, Matthew Raimondi, Tosha Samaroff (#A1)

David Nadien, Emanuel Green, Manny Vardi, George Ricci, Joe Malin, Paul Gershman (#A1-A3)

Tony Sophos, Charles Libove, Gene Orloff, Harry Lookofsky, Max Ellen, Theodore Israel (#A2,A3)

Track Listing:

A1. Polar AC {Cedar Walton} (6:52)

A2. People Make The World Go Round {Linda Creed, Thomas Bell} (5:48)

A3. Betcha By Golly, Wow {Linda Creed, Thomas Bell} (8:10)

B1. Naturally {Nat Adderley} (5:53)

B2. Son Of Sky Dive {Freddie Hubbard} (13:17)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy Van Gelder

Arranger - Bob James (#A2,A3), Don Sebesky (#A1, B1)