Articles

Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

152

Album Review

Hank Crawford: Don't You Worry 'Bout A Thing

Read "Don't You Worry 'Bout A Thing" reviewed by Dan Bilawsky


Saxophonist Hank Crawford will forever be linked to his one-time employer, the great Ray Charles, in the minds of R&B lovers, but soul-fusion fans are likely to remember him for a string of albums he recorded on the Kudu label in the 1970s. Crawford and tenor saxophonist Stanley Turrentine proved to be the two pillars of potent saxophone soul in label head/producer Creed Taylor's stable during this era, but Crawford's work is often overlooked now, while Turrentine's albums still get ...

165

Album Review

Esther Phillips: Performance

Read "Performance" reviewed by Dan Bilawsky


The decades-long battle with drug addiction, which ultimately led to her untimely demise, contributed to vocalist Esther Phillips' status as a tragic second-tier figure in the larger annals of popular music history, but her music itself was often a triumph of soul-stirring ecstasy. By the time Phillips arrived at CTI's sister label, Kudu Records, her early career hits--made under the name “Little Esther"--were a distant memory. A string of albums for Atlantic Records in the late '60s helped bring her ...

206

Album Review

Randy Weston: Blue Moses

Read "Blue Moses" reviewed by Eugene Holley, Jr.


Brooklyn-born, six-foot-seven octogenarian pianist/composer Randy Weston has literally been a larger-than-life jazz force for six decades: his percussive pianism was forged from a distinguished keyboard continuum, ranging from Duke Ellington and Thelonious Monk to John Lewis; his “Little Niles" and “Hi-Fly" are well-worn jazz standards; and the pianist may well be the greatest exponent of the African roots of America's classical music. Weston lived in Morocco in the 1960s and '70s, opened a jazz club there, and was virtually a ...

269

Album Review

Stanley Turrentine: Don't Mess With Mister T.

Read "Don't Mess With Mister T." reviewed by Dan Bilawsky


When the CTI label originally released tenor saxophonist Stanley Turrentine's Don't Mess With Mister T. in 1973, it managed to bring music to the public that served as a sign of the times, while also helping to define the times. The soul within Turrentine's horn had been at the center of his earlier successes for the label--Sugar (CTI, 1970), Salt Song (CTI, 1971) and Cherry (CTI, 1972)--but it really rose to the surface and reached its peak with this release. ...

190

Album Review

George Benson: Body Talk

Read "Body Talk" reviewed by Dan Bilawsky


With a title like Body Talk, and a lead-off track called “Dance," George Benson--a guitar-god-on-the-rise when this album originally hit shelves in 1973--makes it clear that this music is all about feeling the groove. While a good number of Benson projects on CTI benefited from Don Sebesky's arrangements, the guitarist needed a funkier feeling for this album, and Pee Wee Ellis was just the man to provide it. Ellis helped to create the sound that defined the music of James ...

211

Album Review

Freddie Hubbard: Straight Life

Read "Straight Life" reviewed by Dan Bilawsky


On the surface, Freddie Hubbard's Straight Life doesn't seem like a record that should have ever found much success on the CTI label. This record lacks any grandiose arrangements or classical-jazz crossovers, two of the three tracks are far too long to garner much airplay, and those same two tracks--"Straight Life" and “Mr. Clean"--are far rawer and more groove-oriented than standard CTI-issue material. That the programming is so odd--with a guitar and flugelhorn ballad following thirty minutes of soul-funk jamming--also ...

237

Extended Analysis

Hubert Laws: In The Beginning

Read "Hubert Laws: In The Beginning" reviewed by Dan Bilawsky


Hubert LawsIn The BeginningCTI Masterworks2011 (1974) The release of a double album during the LP-era could be a double-edged sword. This format provided a platform for artists to elaborate on their ideas and serve a hefty portion of music to their fans and potential followers, but a single record forced musicians to self-edit a bit more, making them more likely to come out at the other end with a concise artistic ...


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