Charter A&M Corner Member
Give it a chance - and another couple of listens. It may sneak up on you. I know it did for me.
We have no idea why it was shelved. I have a feeling Creed Taylor and Herb/Jerry could have had a falling out over CTi and they shelved it for that reason. (A few albums got little or no release at this time.) Either of them could have decided it wasn't worth a release. Or maybe Luiz Eça didn't like the end product. We'll never know.
And Sebesky went along with Creed to the new label, so...I wonder if that was a similar situation with George Benson's I Got A Woman and some Blues which was recorded in 1969 but not released until 1984.
Desmond's Bridge Over Troubled Water was not even a Creed Taylor production--Sebesky produced and arranged that set. But other than that and being released on A&M proper, it does fit in with that A&M/CTi sound, making me wonder if Taylor had produced it, but didn't want his name associated with the record at that point.
Absolutely---in fact (and I haven't gotten that far yet), that summer, CTi would blow up the chart and really begin the new jazz approach with Freddie Hubbard's RED CLAY.A lot of that would change, I'm sure--a lot of fusion would start hitting the jazz charts not too soon after, since In A Silent Way led the way for Miles' fusion albums that would kickstart a lot of new music. Herbie Hancock, Mahavishnu Orchestra, Return To Forever, etc., I would imagine pulled the jazz chart out of its lull.
And I don't even think those are the greatest records out there, especially the latter which actually sounds kind of tired. (I won't even get into the fact that they're not even close to jazz...but at least they had chart recognition regardless.)CRYSTAL ILLUSIONS finally fell off after 33 weeks and YE-ME-LE spent so much time in the jazz top ten you'd have thought it was a hit record.
I am betting that Kevin Gray's mastering had a lot to do with it. And the digital version sounds very similar.As for the sound, the LP has a bright mix — definitely uncharacteristic of Van Gelder’s '60s work; and while this is welcomed, it seems as though sonic brightness came at the expense of reduced dynamic range.
Greg: So what happened to what would have been track 12 on A&M 620867? That would have been "CLOUDS", recorded on 6 February 1969 but only released as a 45-rpm promo by GROUP 88 Music on 1922 and 1923 DSO. I can't find this 45 rpm, so A&M's release won't be complete without CLOUDS. Also, I liked the ORIGINAL Pete Turner/Sam Antupit cover design for SP-3021 better than the female silhouette on A&M 620867.Hi Everybody,
I'm sort of new here though I remember participating in a few threads on this site way back, about 20 years ago. I just thought I'd chime in on the Tamba 4 "California Soul" LP which I helped finally get released. I had known about its existence for a long time but it wasn't until I brought it up to my old buddy, notorious jazz sleuth Zev Feldman about five years ago that the ball finally got rolling and the tapes suddenly materialized in Universal's other vault, the one that didn't go up in flames, which is located in New Jersey. As a notorious aficionado and collector of all things Brazilian (as well as many other things of course) I'm a big Tamba Trio/4 fan who adores We And The Sea and Samba Blim so it's been a great honor to help unearth their followup. I agree that it's not really as powerful as WATS or even SB (which I love for a different set of reasons) but I just wanted to fill the historical gap regardless...and I do enjoy it for what it is. I really wanted a gatefold and lobbied for it but the budget only allowed for a single sleeve and Kevin Gray's fantastic cutting job. I tried really hard to get in contact with Bebeto Castilho through my many friends in Rio but he's kind of crotchety these days at 80 and can't really be bothered to answer questions about stuff from 50 years ago. The most I was able to get out of him, through a third party, was that "Value Of Love" (listed under that title on Doug Payne's website) was written by one Michael Randi, a NY-area pianist who briefly played with them while Luiz Eça had to make a quick trip back to Rio to tend to personal matters. Zev felt it more prudent to simply list "Copyright Control" where the songwriting credit should be. I hope this helps to clarify some of your questions about this release. As for a digital release, of course I think there should be one but as of right now that's not my call to make.