🎷 AotW: CTI Gábor Szabó: Mizrab (CTI Records CTI 6026)

Gábor Szabó: Mizrab

CTI Records CTI 6026
Released 1973

A1: Mizrab 9:35​

A2: Thirteen 9:18​

B1: It's Going To Take Some Time 4:15​

B2: Shostakovich - Concerto #2 7:20​

B3: Summer Breeze 6:07​

Arco Bass – Charles Israels, Ron Carter (tracks: B2)
Arranged By, Conductor, Piano, Organ – Bob James
Bass – Ron Carter
Bassoon, Bass Clarinet – John Campo
Cello – Alan Shulman, Charles McCracken, George Ricci
Design [Album] – Bob Ciano
Design [Neon Designs Front And Rear Cover] – Rudi Stern
Drums – Billy Cobham (tracks: A1, B1), Jack DeJohnette
Engineer – Rudy Van Gelder
Flute, Piccolo Flute, Alto Flute, Bass Flute – Hubert Laws
French Horn – Brooks Tillotson, James Buffington
Guitar – Gabor Szabo
Harp – Margaret Ross
Oboe, Clarinet, Recorder – George Marge
Oboe, English Horn – Sidney Weinberg
Percussion – Ralph MacDonald
Photography By – Alen MacWeeney
Producer – Creed Taylor
Recorded By – Rudy Van Gelder
Trombone – Wayne Andre
Trumpet, Flugelhorn – Marvin Stamm
Viola – Richard Dickler, Theodore Israel
Violin – Charles Libove, David Nadien, Harold Kohon, Irving Spice, Joe Malin, John Pintaualle, Max Ellen, Paul Gershman

Recorded December, 1972 at Van Gelder Studios


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[Michael Hagerty]

Took forever for this album to show up on streaming. I think it was just in the last couple of years.

Always had a soft spot for this one---because I played the single "It's Going to Take Some Time" on the radio---I know it seems lightweight, but it just works for me:

 

[jazzdre]

I've heard about this guy before, but never heard his music. He's very good! He has a Montgomery-Bensonesque sound to his music with a little Earl Klugh thrown in for good measure. He(well actually Creed Taylor) got a slew of all stars to back him up like Jack Dejohnette, Ron Carter(love his bass playing on this tune!), Billy Cobham and Hubert Laws among others. Hey Michael, I really don't consider this "lightweight" at all, it's pretty strong to me and represents the "Creed Taylor" sound which was the rage in Contemporary Jazz at that time. Thanks for posting it, Michael!

Peace out,
jazzdre.

 

[Michael Hagerty]

I've heard about this guy before, but never heard his music. He's very good! He has a Montgomery-Bensonesque sound to his music with a little Earl Klugh thrown in for good measure. He(well actually Creed Taylor) got a slew of all stars to back him up like Jack Dejohnette, Ron Carter(love his bass playing on this tune!), Billy Cobham and Hubert Laws among others. Hey Michael, I really don't consider this "lightweight" at all, it's pretty strong to me and represents the "Creed Taylor" sound which was the rage in Contemporary Jazz at that time. Thanks for posting it, Michael!

Peace out,
jazzdre.

Check out his earlier LPs---GYPSY (1966), THE SORCERER and MORE SORCERY (1967), and BACCHANAL (1968) to get a sense of what he can really do.

By the way, the George Benson hit "Breezin" (1976)---was written by Gabor and (see Rudy's post below) recorded on his 1970 album HIGH CONTRAST.

 

[Rudy]

By the way, the George Benson hit "Breezin" (1976)---was written by Gabor and recorded on his 1970 album HIGH CONTRAST.

Whoops!



Although the first performance was by Womack with Szabo:

 

[Michael Hagerty]

Whoops!



Although the first performance was by Womack with Szabo:

Well, I broke my own rule and wrote what was in my brain instead of looking it up to be sure.

Thanks for the correction, Rudy----and for a shot of my favorite Warners label ever.

 

[Rudy]

Well, I broke my own rule and wrote what was in my brain instead of looking it up to be sure.

I'm in constant correction mode myself. I'm finding I have to retype so many things over the past couple of years...it's like my brain misfires constantly. Even on mundane stuff. My mind says "their" and I find "there" coming out of my fingers when I type it.

Thanks for the correction, Rudy----and for a shot of my favorite Warners label ever.

I have only a few Warner records on that label version. I have a lot more on the label from the early 80s and up, as there were few 70s records I would have bought back then.

But this is probably my favorite sounding on that label version (and it's a remaster):



I have yet to hear any version, analog or digital, that can top this one. It's the Pallas-pressed Hoffman/Gray mastering on Warner. For an album I can barely stand listening to anymore (radio killed it for me), I can nearly play the album all the way through now.