Don Sebesky - Joyful Noise; A Tribute To Duke Ellington

Styles: Hard Bop, Crossover Jazz
Year: 1999
Time: 68:21
File: MP3 @ 320K/s
Size: 156,5 MB
Art: Front

(8:00) 1. Mood Indigo
(8:13) 2. Creole Love Call
(6:49) 3. Chelsea Bridge
(5:35) 4. Caravan
(3:56) 5. Warm Valley
(9:23) 6. Take The Coltrane
(4:16) 7. Satin Doll
(6:09) 8. Joyful Noise Suite; Gladly
(6:40) 9. Joyful Noise Suite; Sadly
(6:31) 10. Joyful Noise Suite; Madly
(2:44) 11. Ko-Ko

Joyful? Absolutely. Noise? Not on your bass drum, compadre.

If it has taught us nothing else, the “Year of Ellington” now drawing to its close has shown that there are an almost infinite number of ways in which to enter and throw light upon the Duke’s abundant storehouse of enduring musical treasures. Don Sebesky has chosen the big–band route the one most favored by the maestro himself to stylishly renovate half a dozen opulent melodies by Ellington and his co–authors and another by alter ego Billy Strayhorn, uncloak his own three part “Joyful Noise Suite” and present a faithful transcription of “Ko–Ko” from Ellington’s 1941 recording for RCA.

Sebesky, one of the most respected Jazz composer / arrangers in the business, can literally have his pick of accomplished sidemen, and he chose only the best for this ensemble (including several from the formidable Vanguard Jazz Orchestra). A number of them (including, I believe, most of the trumpet section) can be seen from time to time in drummer Louie Bellson’s “East Coast” ensemble, which speaks for itself. As if that weren’t enough to ensure success, Sebesky has brought in a quintet of world–renowned guest soloists Bob Brookmeyer, Ron Carter, Tom Harrell, John Pizzarelli and Phil Woods, each of whom plays a concise but notably dynamic role. Ellington’s wonderful compositions notwithstanding, the centerpiece of this impressive tribute is Sebesky’s 19–minutes–plus suite, whose three picturesque movements (“Gladly,” “Sadly,” “Madly”) capture superbly the indomitable Ellington spirit while showcasing emphatic solos by Brookmeyer, Woods, Harrell, pianist Jim McNeely, bassist Dennis Irwin and drummer Dennis Mackrel.

Brookmeyer, who on the eve of his 70th birthday is playing as well as he ever has (he’s especially impassioned in the suite), solos also on “Creole Love Call,” “Caravan” and “Ko–Ko.” Woods is heard on the first two of those and on “Satin Doll,” Harrell and Carter on “Satin Doll” and “Creole Love Call,” Pizzarelli on “Mood Indigo,” “Caravan” and “Satin Doll.” Although he’s listed as a guitarist / vocalist, Pizzarelli’s vocals consist of wordless counterweights to his guitar solos.

The guest artists don’t usurp all of the solo space, with McNeely declaiming boldly on “Mood Indigo,” the elaborately rebuilt “Chelsea Bridge,” “Warm Valley” and “Ko–Ko.” Trumpeter Barry Ries, tenor Scott Robinson and the entire trombone section are featured on “Mood Indigo,” while tenor Tom Christensen is in the foreground on “Chelsea Bridge” and “Take the Coltrane,” trombonist Jim Pugh on “Take the Coltrane,” soprano Chuck Wilson and baritone Kenny Berger on “Warm Valley,” alto Andy Fusco on “Chelsea Bridge” and “Take the Coltrane,” flugel Brian O’Flaherty on “Chelsea Bridge,” trumpeter Tony Kadleck on “Creole Love Call.”

Each of them is outstanding, but it is Sebesky’s superior arrangements that produce the strongest and most lasting impression. “My intention,” he says in the liner notes, “was not to imitate Duke. Instead, I’ve tried to treat these great tunes in new and unexpected ways; ‘Chelsea Bridge’ and ‘Mood Indigo,’ originally done as ballads, are given new time signatures and much faster tempos; ‘Creole Love Call,’ led by Ron Carter’s insistent bass line, is much ‘dirtier’ than Duke’s version; ‘Caravan’ is built on an arrangement Erroll Garner did for his trio on a 1954 LP (listen for his ‘left hand’ under Phil Woods’ solo).

This is our love letter to this great master.” It’s precisely the sort of love letter Duke would have cherished. By Jack Bowers
https://www.allaboutjazz.com/joyful-noise-a-tribute-to-duke-ellington-don-sebesky-rca-victor-review-by-jack-bowers

Personnel: Alto Saxophone – Andy Fusco, Chuck Wilson (2); Arranged By – Don Sebesky (tracks: 1 to 10); Baritone Saxophone – Kenny Berger; Bass – Dennis Irwin (tracks: 1, 3, 4, 6, 8 to 11), Ron Carter (tracks: 2, 5, 7); Conductor – Don Sebesky; Drums – Dennis Mackrel; French Horn – Peter Gordon (8); Piano – Jim McNeely; Tenor Saxophone – Scott Robinson (2), Tom Christensen; Trombone – Alan Raph, Jim Pugh, John Mosca, Randy Andos; Trumpet – Barry Ries (tracks: 1, 3, 4, 6, 8 to 11), Brian O'Flaherty, Tim Hagans (tracks: 2, 5, 7), Tony Kadleck

Joyful Noise; A Tribute To Duke Ellington

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Paul Desmond - Pure Desmond

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 58:34
Size: 134,3 MB
Art: Front

(4:33) 1. Squeeze Me
(4:54) 2. I'm Old Fashioned
(4:22) 3. Nuages
(3:38) 4. Why Shouldn't I
(3:41) 5. Everything I Love
(4:30) 6. Warm Valley
(4:09) 7. Till The Clouds Roll By
(5:10) 8. Mean To Me
(3:04) 9. Theme From Mash
(6:21) 10. Wave
(4:47) 11. Nuages (Alt. Take)
(4:05) 12. Squeeze Me (Alt. Take)
(5:13) 13. Till The Clouds Roll By (Alt. Take)

With a dry tone, and unhurried phrasing definitive of the emergent West Coast Cool a relaxed alternative to the edgier hard bop coming from New York alto saxophonist Paul Desmond had already made a name for himself with pianist Dave Brubeck's quartet on the legendary Time Out (Columbia, 1959). Desmond also wrote the tune that became Brubeck's signature, "Take Five," and, while he passed away too young at the age of 52 from lung cancer, he's left behind a relatively small but significant legacy of recordings that have sometimes become overlooked with the passing of time.

Pure Desmond was only one of two albums the saxophonist made for CTI (though he did record two albums with Creed Taylor for A&M, before the producer started his own label), but it's the absolute winner of the two. A small group album featuring the same three bonus tracks as a previous CD version, with CTI Masterworks' warm remastering and beautiful mini-vinyl-like soft digipaks, it represents a welcome return to print of an album that, despite alcoholism and heavy smoking, finds Desmond in great form just three years before his death in 1977.

With label staple Ron Carter swinging comfortably with Modern Jazz Quartet and longtime Desmond musical cohort, drummer Connie Kay, Pure Desmond stands as one of the altoist's best records as cool as a calming breeze on a summer's day and as dry as a good martini. The album blend of standards ranging from Duke Ellington to Antonio Carlos Jobim also features the tremendously overlooked Ed Bickert, a Toronto, Canada native whose uncharacteristically warm-toned Fender Telecaster had already been heard in the company of fellow Canadians like flautist Moe Kaufman, and bandleaders Phil Nimmons and Rob McConnell, but whose star mysteriously never rose as it deserved, amongst peers like Joe Pass, Herb Ellis and, in particular, Jim Hall.

The tempo never gets past medium, but there's a simmering energy on some of the material, in particular the Jerome Kern chestnut, "Till the Clouds Roll By," heard here in two versions: the original album version, where Bickert's solo is the height of linear invention and occasionally bluesy bend; and a slightly longer alternate take where he builds a solo filled with rich voicings and single note phrases constantly accompanied with periodic chordal injections. The mix and overall tone of the alternate take is a little rawer, with Carter's bass a more visceral punch in the lower register.

Light Latin rhythms also define the session, with the by-then-popular "Theme from M*A*S*H" given a light bossa treatment, as is Jobim's "Wave," which closes the original album on a graceful note, but here acts as a gateway to alternate takes including the ambling opener, "Squeeze Me," and the Django Reinhardt classic, "Nuages," that skips the guitar/sax duo intro and heads straight into an ensemble reading.

With a supportive group that clearly gets the value of less over more, the aptly titled Pure Desmond stands, alongside The Paul Desmond Quartet Live (A&M/Horizon, 1975)his other album with Bickert as the pinnacle of this West Coast cool progenitor's career.
By John Kelman https://www.allaboutjazz.com/pure-desmond-paul-desmond-cti-masterworks-review-by-john-kelman

Personnel: Paul Desmond: alto saxophone; Ed Bickert: electric guitar; Ron Carter: bass; Connie Kay: drums; Don Sebesky: musical supervision.

Pure Desmond

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Don Sebesky - I Remember Bill - A Tribute To Bill Evans

Styles: Crossover Jazz, Hard Bop

Year: 1998

File: MP3@320K/s

Time: 78:34

Size: 183,6 MB

Art: Front

(4:46)  1. Waltz for Debby

(5:29)  2. I Remember Bill

(8:24)  3. So What

(4:07)  4. Quiet Now

(6:16)  5. All the Things You Are

(6:47)  6. Peace Piece

(5:58)  7. Bill, not Gil

(7:22)  8. Very Early

(4:22)  9. (T.T.T.T.) Twelve Tone Tune Two

(4:52) 10. Autumn Leaves

(5:06) 11. Blue in Green

(7:52) 12. I'm Getting Sentimental over You

(1:18) 13. Epilogue

(5:53) 14. Bill Evans Interview

Veteran arranger Don Sebesky crafts an often-glowing portrait of famed jazz pianist Bill Evans in this quite welcome orchestral jazz tribute. While he is too often derided (and unfairly) as the guy who mucked up Wes Montgomery and other CTI stars with strings and horn sections, Sebesky often presents subtle arrangements that offer keen respect for a soloist's musicianship. When a listener notices Sebesky's work, it's often in the occasional punctuation mark or interesting sound combinations he creates. But it's his respect for the featured musician that sets him apart and probably drew him to this project. Here, Sebesky has gathered a prominent collection of top-shelf jazz musicians, many of whom actually worked with Evans during his career. But one instrumentalist he did not recruit was a pianist. A wise move. This permits appropriate direction from the bassist and drummer and allows reliance on a rhythm player who is not burdened by aping or avoiding Bill Evans' style. Such daunting responsibility falls to the guitarist; in most cases, Larry Coryell, who is outstanding in his eight appearances here and, perhaps, emerges as this session’s real star.

The material is carefully drawn from Evans' originals and standards associated with the pianist. But, in a quest for variety, the result is something of a mixed bag. Standouts include sterling takes of "All the Things You Are" (with Lee Konitz), Sebesky's oddly-titled "Bill, Not Gil" and "T.T.T.T." (both featuring Bob Brookmeyer and Eddie Daniels) and, of course, "Waltz for Debby" (with Joe Lovano and Tom Harrell). But Sebesky achieves greatness with his transformation of Evans' lovely "Peace Piece" into an elegant adagio. Effectively coordinating strings, harp, percussion and Hubert Laws' flute, he has surely crafted one for the ages here. His boisterous take on "So What" (with solid contributions from Joe Lovano, Tom Harrell and Larry Coryell) is also worthwhile, but seems reminiscent of his showy work with Wes Montgemery. The three vocal tunes (separately featuring Chet Baker-like John Pizzarelli, Jeannie Bryson and the intolerable New York Voices), though, all are quite unnecessary and seem to break any mood Sebesky may have been aiming for. Still, it's refreshing to hear high-quality orchestral jazz being made in the late nineties  and one hopes Don Sebesky will be in the forefront of keeping it alive. ~ Douglas Payne https://www.allaboutjazz.com/i-remember-bill-a-tribute-to-bill-evans-don-sebesky-rca-victor-review-by-douglas-payne.php

Personnel: Tom Harrell: flugelhorn; Bob Brookmeyer: valve trombone; Joe Lovano: tenor sax; Lee Konitz: alto sax; Eddie Daniels: clarinet; Hubert Laws: flute; Larry Coryell, Ken Sebesky: guitar; John Pizzarelli: guitar, vocals. Marc Johnson, Eddie Gomez: bass; Joe LaBarbera, Marty Morell, Dennis Mackrel: drums; Toots Thielmans: harmonica; Sue Evans, Joe Passaro: percussion; Dave Samuels: vibraphone; New York Voices (Darmon Meader, Lauren Kinhan, Peter Eldridge, Kim Nazarian), Jeanie Bryson: vocals; with brass, woodwinds and strings.

I Remember Bill - A Tribute To Bill Evans

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Don Sebesky - A Jazz Portrait of Charlie Mariano

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 39:33
Size: 92,0 MB
Art: Front

(2:58)  1. I Feel Pretty
(4:14)  2. The Wind
(7:30)  3. To Taiho
(4:29)  4. Goodbye
(2:52)  5. The Shout
(5:24)  6. Portrait of an Artist
(3:19)  7. Deep in a Dream
(5:37)  8. Pretty Little Nieda
(3:05)  9. The Song Is You

"There is so much taht could be said about this album, but until the record companies consider using larger jackets, I shall be obliged to hold my enthusiasm in check. I must mention Jim Hall's masterful playing is something we have all come to expect from him. Phil Bodner, whose complete mastery of all the redd instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship and his fiery propulsion to the big band tracks is more thanworthy of comment Charlie's gospel-tinged THE SHOUT, the Sebesky title tune of the album, amd Rolf Ericson's delightful jazz waltz, Pretty Little Nieda, coupled with the standards, make for above average programming, something of a novelty in a business that has become mired in anonymity. Regiona Records should feel very proud of yhis contribution, and I repeat if this album doesn't scare a lot of people there is definitely something wrong with the music business." ~ Mort Fega, liner-notes from the original LP on Regina Records https://www.freshsoundrecords.com/charlie-mariano-albums/4076-a-jazz-portrait-of-charlie-mariano.html

Personnel: Charlie Mariano (as), Jim Hall (g), Mel Lewis (d), Bob Brookmeyer (v-tb), Marvin Stamm (tp), Roger Kellaway, Jaki Byard (p), Richard Davis, Art Davis (b), Albert 'Tootie' Heath (d)

A Jazz Portrait of Charlie Mariano

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Astrud Gilberto - Windy

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 27:46
Size: 65,1 MB
Art: Front

(2:02)  1. Dreamy
(2:05)  2. Chup Chup I Got Away
(2:50)  3. Never My Love
(3:23)  4. Lonely Afternoon
(2:41)  5. On My Mind
(2:34)  6. The Bare Necessities
(2:48)  7. Windy
(2:09)  8. Sing Me A Rainbow
(2:26)  9. In My Life
(1:33) 10. Crickets Sing For Anamaria (Os Grillos)
(3:12) 11. Where Are They Now?

While assembled from seemingly disparate sessions arranged by Eumir Deodato, Don Sebesky, and Pat Williams, Windy nevertheless proves one of Astrud Gilberto's most consistent and sublime efforts, artfully straddling the division between Brazilian bossa nova and American sunshine pop. Credit the aforementioned arrangers for much of the LP's appeal from a percolating rendition of the Association's title cut to a neo classical reinvention of the Beatles' "In My Life," the songs possess a lithe, shimmering beauty that perfectly complements Gilberto's feathery vocals. Still, she can't quite skirt the cloying sweetness that undermines so many of her mid-period Verve LPs son Marcelo, who first joined his mother on the previous Beach Samba for an excruciating duet version of the Lovin Spoonful's "You Didn't Have to Be So Nice," resurfaces here for a reading of The Jungle Book's "The Bare Necessities," proving yet again that children should be seen and not heard. ~ Jason Ankeny https://www.allmusic.com/album/windy-mw0000384258

Personnel: Astrud Gilberto - vocals; Marcelo Gilberto - vocals on "The Bare Necessities"; Patrick Williams - arranger, conductor (on track 4); Eumir Deodato - arranger, conductor (on tracks 1, 2, 5 and 7); Don Sebesky - arranger, conductor (on tracks 3, 6, 8, 9 and 11)

Windy

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Maynard Ferguson - Dancing Sessions

Styles: Trombone And Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 79:00
Size: 187,6 MB
Art: Front

(2:23)  1. Secret Love
(3:11)  2. 'Tis Autumn
(3:29)  3. Soft Winds
(3:15)  4. 'Round Midnight
(2:51)  5. I'm Beginning To See The Light
(2:30)  6. Stompin' At The Savoy
(3:35)  7. It Might As Well Be Spring
(2:27)  8. I'll Be Seeing You
(3:34)  9. If I Should Lose You
(2:40) 10. Where's Teddy?
(3:02) 11. Hey There
(4:06) 12. Mangos
(2:56) 13. Don't Take Your Love From Me
(2:56) 14. My Foolish Heart
(1:59) 15. Let's Face The Music And Dance
(2:53) 16. You Don't Know What Love Is
(2:46) 17. It's Only A Paper Moon
(3:46) 18. The Party Is Over
(3:36) 19. The Masquerade Is Over
(3:10) 20. Let's Do It
(4:02) 21. Spring Is Here
(2:24) 22. It Could Happen To You
(3:29) 23. Teach Me Tonight
(2:22) 24. Do Nothin' Till You Hear From Me
(3:03) 25. Don't Take Your Love From Me
(2:20) 26. Let's Fall In Love

This release contains the complete contents of the original Maynard Ferguson big band LPs Plays Jazz for Dancing (1959) and Lets Face the Music and Dance(1960), plus three rare bonus tracks taken from the same sessions and previously issued as singles or on compilation albums. The two albums presented here, come from the zenith of this orchestra and present Maynard Ferguson's vision of dance music at a time in which dancing and Jazz were undergoing serious decline. By 1950, Swing music seemed a thing of the past. Modern Jazz focused on small formats or big orchestral scores which targeted concert halls as opposed to dancing establishments. Most of the dance scene had been taken over by Rock & Roll and R&B bands. The great Canadian-born trumpeter Maynard Ferguson died in California on August 23, 2006, at the age of 78. His career had spanned over 60 years. He formed his own 14-piece band in 1956, and as it starred at the famous Birdland club in New York, it picked up the moniker the Birdland Dream Band - which remained active for nearly nine years, during an era in which most big bands saw very difficult times due to the change of times and musical styles. https://www.freshsoundrecords.com/maynard-ferguson-albums/5227-dancing-sessions-2-lp-on-1-cd.html

Personnel:  Trumpet – Bill Chase, Chet Ferretti,  Don Ellis, Jerry Tyree, Larry Moser, Maynard Ferguson, Rick Kiefer; Alto Saxophone – Jimmy Ford , Lanny Morgan; Baritone Saxophone – Frank Hittner , John Lanni; Bass – Charlie Saunders, Jimmy Rowser; Drums – Frankie Dunlop, Rufus Jones; Euphonium – Maynard Ferguson; Featuring – Maynard Ferguson And His Orchestra; Mellophone – Maynard Ferguson;  Piano – Bob Dogan, Jaki Byard; Tenor Saxophone – Joe Farrell, Willie Maiden; Trombone – Don Sebesky , Kenny Rupp, Maynard Ferguson, Slide Hampton

Dancing Sessions

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Walter Wanderley - When It Was Done

Styles: Latin Jazz
Year: 1968
File: MP3@320K/s
Time: 30:46
Size: 70,7 MB
Art: Front

(2:39)  1. Open Your Arms (Let Me Walk Right In)
(2:35)  2. Surfboard
(3:35)  3. Baiao da Garoa
(2:37)  4. Reach Out for Me
(2:28)  5. Ole, Ole, Ola
(2:25)  6. Ponteio
(2:24)  7. When It Was Done
(2:46)  8. On My Mind
(2:20)  9. Just My Love and I
(4:20) 10. Capoeira
(2:34) 11. Truth in Peace (Verdade em Paz)

Walter Wanderley moved over to A&M from Verve with producer Creed Taylor, whose influence dominates this heavily produced yet attractive album of mostly Brazilian material. The Wanderley sound is more carefully terraced than ever on this strikingly packaged album, edited and faded for easy airplay. Especially nice is Jobim's "Surfboard," a sleek miniature tone poem. Besides his usual subdued organ work, Wanderley spends almost as much time on the electric harpsichord, upon which he uses a more legato attack than on the organ, a curious reversal of each instrument's properties. He is not helped by the cottonball-textured vocals from a superfluous female trio, who figure most prominently on the two American tunes, Burt Bacharach's "Reach Out For Me" and Jimmy Webb's title track. A few of the usual CTI suspects turn up Hubert Laws on flute, Marvin Stamm on flugelhorn; Don Sebesky provides the overlush string backdrops, with other points in the arrangements entrusted to Eumir Deodato. A young Milton Nascimento makes a cameo appearance on "Open Your Arms," scatting a countermelody that he invented on the spot after awakening from a nap (no, it was jet lag, not a commentary on the session!). ~ Richard S.Ginell https://www.allmusic.com/album/when-it-was-done-mw0001041579

Personnel:  Walter Wanderley - organ, electronic harpsichord; Marvin Stamm, John Glasel - flugelhorn; George Marge, Stan Webb - flute, piccolo; Donald Ashworth, Hubert Laws - flute, piccolo, oboe, English horn; José Marino - bass; João Palma - drums; Lu Lu Ferreira - percussion; Lewis Eley, Harry Glickman, Gene Orloff, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Tosha Samaroff, Sylvan Shulman, Avram Weiss - violin; Harold Coletta, Harold Furmansky - viola; Charles McCracken, George Ricci - cello; Gloria Agostini - harp; Anamaria Valle, Marilyn Jackson, Linda November, Milton Nascimento - vocals; Eumir Deodato - rhythm arrangements; Don Sebesky - string arrangements

When It Was Done

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Don Sebesky - Moving Lines

Styles: Contemporary Jazz, Big Band 
Year: 1984
File: MP3@320K/s
Time: 41:47
Size: 96,5 MB
Art: Front

( 4:27)  1. Claire's Song
( 6:22)  2. Cherokee
( 5:16)  3. Moondreams
( 5:11)  4. I Go To Rio/Mardi Gras
(13:40)  5. Malaguena
( 6:50)  6. Skyliner

As a composer, arranger and conductor, he has worked with such orchestras as the London Symphony, the Chicago Symphony, the Boston Pops, The New York Philharmonic, the Royal Philharmonic of London, and the Toronto Symphony.  His Broadway theater credits include Porgy and Bess (London production by Trevor Nunn), Sinatra At The Palladium, Sweet Charity, Kiss Me Kate (2000 Tony Award), Bells Are Ringing, Flower Drum Song, Parade, The Life, Cyrano, The Goodbye Girl, Will Rogers Follies,  and Sinatra At Radio City. Among his film credits are The Rosary Murders (starring Donald Sutherland), Hollow Image (starring Morgan Freeman), The Last of the Belles (starring Susan Sarandon), Let's Get Lost (starring Chet Baker “ Best Documentary at the Cannes Film Festival), The People Next Door (starring Eli Wallach and Julie Harris), Time Piece (Jim Henson Productions “ Academy Award nomination for Best Short Subject).  For television, Sebesky's work has included Allegra's Window on Nickelodeon (Emmy nomination), The Edge of Night on ABC (Emmy nomination), and Guiding Light on CBS (Emmy nomination).  As a recording artist, Sebesky's work includes nine recordings under his own name, all of which were GRAMMY nominated.  Included are Giant Box, Rape of El Morro, Full Cycle, Moving Lines, Symphonic Sondheim, I Remember Bill (1999 GRAMMY Award), and Joyful Noise (winner of two GRAMMY Awards in 2000). Sebesky has also created the music for many well known commercials.  Among the companies he has represented are:  Corning (Clio Award), Hanes, Hallmark, Dodge Trucks, General Electric (Clio Award), Hershey's, Cheerios, Calvin Klein (Clio Award), Nike, Oil of Olay, Pepsi and Kodak.  Sebesky is the author of the best selling orchestration text book, The Contemporary Arranger. http://www.donsebeskymusic.com/about.htm

Personnel:  Electric Piano, Conductor, Arranged By, Producer – Don Sebesky;  Acoustic Bass, Electric Bass – Jay Leonhart;  Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Alex Foster;  Baritone Saxophone, Bass Clarinet, Flute, Clarinet – Roger Rosenberg;  Bass Trombone, Horn [Baritone], Tuba – Alan Raph;  Drums, Percussion – Jimmy Madison;  Electric Guitar [12 String], Acoustic Guitar [12 String] – Ken Sebesky;  Leader, Piano [Acoustic];  Tenor Saxophone, Clarinet, Flute, Piccolo Flute, Flute [Alto & Bass] – Eddie Daniels;  Trombone, Horn [Baritone] – Jimmy Pugh;  Trumpet, Flugelhorn – Barry Ries, Brian O'Flaherty

Moving Lines

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Don Sebesky - Giant Box

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 59:35
Size: 140,1 MB
Art: Front

(13:56)  1. Firebird/Bird Of Fire
( 5:50)  2. Song To A Seagull
( 8:15)  3. Free As A Bird
( 8:11)  4. Psalm 150
( 5:40)  5. Vocalise
( 9:48)  6. Fly/Circles
( 7:52)  7. Semi-tough

It's a bit bizarre to find an album called Giant Box in a small cardboard case, or as a download lacking physical form, but times change. When Don Sebesky's grand musical statement on CTI hit the marketplace in 1973, it came in a classical-type record box, befitting the stature of the music. Opinions vary as to whether Sebesky can be said to have been a savior of jazz in the '70s, or a jazz Judas who helped to commercialize the music. Truth be told, he's neither. Sebesky is simply a great arranger and talent who happened to thrive in this music during a period when the ideology of jazz was fractured in so many ways. Sebesky bore the brunt of critical attacks against this new offshoot, but he wasn't trying to reinvent the wheel. While his arrangements were occasionally excessive, many of his works are also masterful musical creations that create an entire universe of sound, in service of a particular artist's vision. While there may be reservations about the "Sebesky Sound," hindsight shows his arranging brilliance, as demonstrated on Giant Box.

The early '70s success of CTI afforded Creed Taylor the opportunity to give Sebesky some musical freedom on this project, and what he came up with is astonishing. Sebesky fuses Igor Stravinsky's "Firebird" and John McLaughlin's "Birds Of Fire" into a single work, featuring cinematic orchestral episodes and exciting solos from the likes of Hubert Laws and Freddie Hubbard. Joni Mitchell's "Song To A Seagull" becomes a feature for Paul Desmond's distant and lonely sounding alto saxophone, but Ron Carter's bass makes friends with him and the pair proves to be simpatico in its conversational work. The first of three Sebesky originals ("Free As A Bird") is also the first number that deals in hard swinging big band writing, and it also features some wonderful solo work from pianist Bob James, Freddie Hubbard now on flugelhorn and Grover Washington Jr. on soprano saxophone. Sebesky's take on Jimmy Webb's "Psalm 150" is the one number that doesn't stand up too well, as it comes off like a combination between solemn chanting, Donald Byrd's A New Perspective (Blue Note, 1963), standard-issue funk, and "Aquarius" from Hair (1967). Things get back on track with Desmond's sad-eyed saxophone work on "Vocalise," which also features vibraphonist Milt Jackson and Sebesky's superb string writing. The final pair of pieces on the album are representative of Sebesky's experimental side ("Fly/Circle") and understanding of popular, groove-based music ("Semi-Tough"). "Fly/Circle" is an episodic number that features Laws' effects-laden flute runs, Sebesky's pleasant vocals, an eerie Bernard Hermann-esque woodwind statement, solos over a small group setting, and more. "Semi-Tough" goes in a completely different direction, as Sebesky taps into raunchy, straight-up street funk that's part-Isaac Hayes and part Sanford And Son. While Giant Box is indicative of the bigger-is-better approach of the times, it also serves as a benchmark for creativity in arranging and composition, and helps to place Sebesky's talents in the proper light. ~ Dan Bilawsky https://www.allaboutjazz.com/giant-box-don-sebesky-cti-masterworks-review-by-dan-bilawsky.php

Personnel: Don Sebesky: piano (7), electric piano (1, 2, 3), organ (7), accordion (3, 6), clavinet (7), vocals (4, 6); Bob James: piano (3, 5, 6), organ (4, 7); Ron Carter: bass, electric bass, piccolo bass; Billy Cobham: drums (1, 4, 7); Jack DeJohnette: drums (2, 3, 5, 6); George Benson: guitar (7); Harry Leahey: guitar (1); Airto: percussion (1, 6, 7); Rubens Bassini: conga drums (4); Dave Friedman: percussion (4); Phil Kraus: percussion (4); Ralph MacDonald: percussion (4); Paul Desmond: alto saxophone (2, 5); Joe Farrell: soprano saxophone (6); Grover Washington, Jr.: alto saxophone (7), soprano saxophone (3); Milt Jackson: vibraphone (5); Freddie Hubbard: trumpet (1, 5), flugelhorn (3); Hubert Laws: flute (1, 6); Jackie Cain: vocals (4); Roy Kral: vocals (4); Randy Brecker: trumpet; Alan Rubin: trumpet; Joe Shepley: trumpet; Wayne Andre: trombone, baritone; Warren Covington: trombone, baritone; Garnett Brown: trombone; Paul Faulise: bass trombone, baritone; Alan Raph: bass trombone, baritone; Jim Biffington: french horn; Earl Chapin: french horn; Phil Bodner: flute, piccolo, clarinet, soprano saxophone, tenor saxophone, oboe, English horn; Jerry Dodgion: flute, piccolo, clarinet, soprano saxophone; Walt Levinsky: clarinet, tenor saxophone; George Marge: flute, clarinet, soprano saxophone, baritone saxophone, oboe, English horn; Romeo Penque: flute, piccolo, clarinet, soprano saxophone, oboe, English horn; Tony Price: tuba; Al Brown: violin; Harry Cykman: violin; Max Ellen: violin; Paul Gershman: violin; Harry Glickman: violin; Emanuuel Green: violin; Harold Kohon: violin; Charles Libove: violin; Harry Lookofsky: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Irving Spice: violin; Seymour Barab: cello; Charles McCracken: cello; George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Homer Mensch: concert string bass; Lani Groves: background vocals (7); Carl Caldwell: background vocals (7); Tasha Thomas: background vocals (7).

Giant Box

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