Don Sebesky is best known as house arranger for many of producer Creed Taylor’s Verve, A&M, and CTI productions; the man whose orchestral backgrounds helped make artists like Wes Montgomery, Paul Desmond, Freddie Hubbard, and George Benson acceptable to audiences outside of jazz.
He has taken critical heat for this, but Sebesky’s arrangements have usually been among the classiest in his field, reflecting a solid knowledge of the orchestra, drawing variously from big band jazz, rock, ethnic music, classical music of all eras, and even the avant-garde for ideas. He once cited Bartok as his favorite composer, but one also hears lots of Stravinsky in his work.
In 1960, he gave up the trombone to concentrate upon arranging and conducting, eventually receiving the breakthrough assignment of Montgomery’s Bumpin’ album (1965). Some of the most attractive examples of his work for jazz headliners include Bumpin’, Benson’s The Shape of Things to Come, Desmond’s From the Hot Afternoon, and Hubbard’s First Light.
Off the charts “Triple Triple” (A+++) sound for this classic Freddie Hubbard CTI album – both sides won our shootout, earning our top grade of Triple Plus
This is the kind of spacious, low-distortion, dynamic and energetic sound Rudy Van Gelder was getting in the early ’70s
Hubbard got together a great group of Funky Jazz players to support him here, with Don Sebesky doing his usual inventive arrangements
4 Stars: “Freddie Hubbard’s fourth CTI recording certainly has a diverse repertoire. The charts for the brass and woodwinds are colorful; there is a fine supporting cast that includes guitarist George Benson, Keith Jarrett on keyboards, and flutist Hubert Laws; and Hubbard takes several outstanding trumpet solos.”
Rudy was getting one hell of a lively trumpet sound on tape during this period in his career. If you have a good pressing of one of his early ’70s jazz recordings the sound can be positively EXPLOSIVE, with what feels like all the size and power of live music.
Smear. It’s by far the most common problem with the copies we played. When the transient bite of the trumpet is correctly reproduced, maintaining its full-bodied tone and harmonic structures, you know you have a very special copy of Sky Dive (or Straight Life or First Light or Red Clay, etc.). When the sound is blurry, thick, veiled, dull or slow, you have what might be considered something more like the average copy.(more…)