🎷 AotW: CTi Tamba 4 - WE AND THE SEA (SP-3004)

All the A&M/CTi releases

How Would You Rate This Album?

  • ***** (Best)

    Votes: 11 91.7%
  • ****

    Votes: 0 0.0%
  • ***

    Votes: 1 8.3%
  • **

    Votes: 0 0.0%
  • * (Worst)

    Votes: 0 0.0%
  • Never Heard This Album

    Votes: 0 0.0%

  • Total voters
    12

Mike

Active Member
The Japanese CD issue of Samba Blim (in jewel case) from a few years ago sold out.

However, coming soon in Japan: A reissue Limited Edition SHM-CD (Paper Jacket) of Samba Blim will be out 20 May 2009

All the best,
Mike
 

rickster

New Member
I get REALLY tired of all the Taylor/Sebesky bashing on this forum . Let me point to one Taylor/Sebesky arranged/Randy Weston project. It was on the CTI label, came out in 1972 and is a masterpiece of brass/big band
arranging and production. And it's not all that commercial, either. They DID take chances at CTI and A & M, you just have to take the time to seek out the really good stuff. The album is called "Blue Moses" and is available on Amazon from Japan. Lets not forget, as I've stated many times before on this forum, that the A&M and CTI things WERE NOT MEANT to be straight ahead jazz dates-- they were basically jazz-flavored pop projects, designed specifically to reach a wider audience. And in that respect they succeeded, for the most part.
 

rickster

New Member
Yeah, I remember a tune called "Grey Moss" , I think, on that Adderly album (he did two for A & M) that I played about a million times after I bought the album -- JO , do you know which tune I am speaking of ???
Killer !!!!
 

JOv2

Well-Known Member
big band rickster said:
I get REALLY tired of all the Taylor/Sebesky bashing on this forum...
Sorry, man -- hey, if it's any consolation I'll take Taylor/Sebesky in a heartbeat over Dave Grusin's famous orchestral-jackhammer charts that chronically smother the soloist. Anyway, you're correct in that these things were never intended to be passed off as "jazz" LPs... (Of course, Herb knew a "pure jazz" production unit would not turn a profit for A&M...so to get a decent return (desperately needed given the costly packaging) he needed to make it more accessible. Creed had a strong ($$) track record with "pop-jazz" over at Verve anyway with Wes (30min LPs, top-40 covers, 3-min songs, orchestrations, etc.), so he just continued the approach for Herb... Of course, it's one thing to have a Montgomery or Mann LP turn a profit for you, but stuff like that Artie Butler LP could never have been expected to break even against the high production and packaging costs!)

I look at it like this: as "jazz" LPs they're pretty dismal; as "pop" LPs they're quite good -- in fact, the first four are wonderful!!

big bad rickster said:
Yeah, I remember a tune called "Grey Moss" , I think, on that Adderly album (he did two for A & M) that I played about a million times after I bought the album -- JO , do you know which tune I am speaking of ???
Killer !!!!
Yup. That's the Calling Out Loud LP. Grey Moss resembles the tuneful/lyrical melodies that Joe Zawinul would bring to Miles Davis' In A Silent Way prep and recording sessions. The other piece is Ivan's Holiday -- again, another haunting piece...with Nat using that wacky veritone attachment to get the "electric cornet" sound. (Remember Eddie Harris and Bunk Gardner using this thing? Apparently it was all the rage during '67-'68. Just the thing that probably sold for 5$ back in 1986 -- and now'll cost you like 300-smackers on e-bay!)
 

Rudy

¡Que siga la fiesta!
Staff member
Site Admin
Do you know if Varitone was the correct name for the attachment? Selmer had their Varitone saxophones, which had a microphone in the neck, and a control box that provided a handful of effects. Eddie Harris and Sonny Stitt were two who used it on recordings; other than that, it never gained a following.

I could see something similar for a cornet--makes me wonder if someone retrofitted a Varitone setup to the cornet in this case.
 

seashorepiano

Active Member
The Liner notes for YOU, BABY indicate that Nat used the Varitone. I recall the writer remarking about Nat's "husky tone" or something like that. He probably also used it on CALLING OUT LOUD. FWIW, JJ & K also used Varitones for part of BETWIXT & BETWEEN.
 

Rudy

¡Que siga la fiesta!
Staff member
Site Admin
Funny--I found an old post of mine on the "Sax On The Web" forum. I'd heard the Selmer Varitone on one of Chico O'Farrill's albums ("Married Well"), and commented that it sounded like a badly-miked saxophone. :laugh:
 

Dave

Well-Known Member
Brasilian jazz in its purest, most simplest form... Free from any strings, brass, or electronic effects, marking the ambition of the day, which would diminish such an unspoiled musical worth...

Not that anything like that could take anything away from these guys... You don't have to be "big, into jazz", to like...!



Dave
 

lj

Well-Known Member
Certainly Creed Taylor's claim-to-fame is not his role in the creation of fusion jazz in the 1970's which begat today's smooth jazz. Rather it can be argued that no person had a greater role in the promotion and popularization of Brazilian music in the 1960's than Creed Taylor. His musical imprint is on all the classic albums he produced in that period for Tom Jobim, Walter Wanderley, Astrud Gilberto, Stan Getz and the Tamba Four. Gene Lees, the writer of English lyrics to Jobim's "Song of the Jet". "Quiet Nights of Quiet Stars" and "Double Rainbow" said in his book, Singers and the Song II, "were it not for Creed Taylor, I am convinced, bossa nova and Brazilian music generally would.....become a quaint parochial phenomenon interesting to tourists, instead of the worldwide music and the tremendous influence on jazz itself that it in fact became."

Of critical importance, in 1963 he produced the album "Getz/Gilberto" which was released in 1964 just when interest in Brazilian music had started to ebb away. What this album's huge success would do is give Brazilian music an enormous spark and gravitas that remains with us today. It has been said that the album's signature song "The Girl from Ipanema" is the second most recorded song in history, right after the Beatles "Yesterday".
 
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