The A&M CTi Records


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The track timing--that's another good point about Stonebone as it's another point that breaks the A&M mold. There are some CTi albums with two long tracks per side (Freddie Hubbard's Red Clay and a few others), or at least one or two lengthy tracks on the album. Or like the Lonnie Smith Mama Wailer (on the Kudu label) where side two is one long track, and the same with Freddie Hubbard's "Straight Life" (from the album with the same title) and "Impressions" on the Stanley Turrentine Sugar.

Interesting side note--all four are Blue Note alumni.

Both of the Quincy Jones titles point in the same direction as Stonebone, especially Gula Matari with its extended pieces and Q's leanings toward pop and soul at the time. Benson's Abbey Road also breaks the A&M tradition by letting him stretch more on the tunes. These were also late in the run at A&M.

That's why these late A&M-era albums feel as though Taylor was finally finding his groove and getting out of the pop-orchestral-jazz mode of the earlier A&M albums, save for Jobim's album where A&M got yesterday's table scraps and CTi ended with the main course.
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