CTI All-Stars – CTI Summer Jazz at the Hollywood Bowl – Live Three (1977)

CTI ALL-STARS
CTI Summer Jazz at the Hollywood Bowl
Live Three
1977 CTI Records – CTI 7078

 

A1 Funkfathers (Stanley Turrentine) 7:46
A2 Cherry (Don Redman, Ray Gilbert) 8:00
B1 Bowl Full O’Blues (Hank Crawford) 7:46
B2 Cherry Red (Joe Turner, Pete Johnson) 4:39
B3 God Bless The Child (Arthur Herzog, Jr., Billie Holiday) 7:02

 

Bass – Ron Carter
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – George Benson
Keyboards – Bob James, Deodato*, Johnny Hammond
Percussion – Airto
Saxophone – Grover Washington, Jr., Hank Crawford, Joe Farrell, Stanley Turrentine
Trumpet – Freddie Hubbard
Vibraphone – Milt Jackson
Vocals – Esther Phillips (tracks: B2 to B3)

Album graphic design – Sib Chalawick
Photography By – K’Abe
Producer – Creed Taylor
Recorded By – Wally Heider
Engineer – David Palmer
MC – Leonard Feather, Rick Holmes

Recorded at the Hollywood Bowl by Wally Heider on July 30th, 1972. Mixed at Electric Lady Studios in May 1977.

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RIPPING INFO

CTI 7078 vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; Audioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; clicks and pops removed with Click Repair on light settings, manually auditioning the output; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.


Not much to say here: this is the third and final volume where CTI documented the days when people could get together for a giant open-air festival without fear of being gunned down like livestock. More vibes from Milt Jackson playing it safe. But Esther Phillips is the headliner, at least on the record, and we get wonderful tracks from her including a somewhat playful God Bless The Child which inexplicably has a few bars of Latin jazz that sound suspiciously like Wes Montgomery’s take on “TEQUILA” as a bridge to an instrumental stretch-out that stays in double time for a while before going back to the normal tempo.

It was a fun run of contractual-obligation records and but I felt more contractually obligated to finish sharing them than I felt enthusiastic about it. But that’s just moody old me.


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2 Comments

  1. Doobiezz here… Thanks much flabbergasted

  2. Very nice to complete the set. Thank you Dr. V!

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