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With CTI Records having gone independent in 1970, founder Creed Taylor celebrated the early success of the label with a one night only concert at the Hollywood Palladium on July 18, 1971. Taylor handpicked a dream team of CTI artists for California Concert: The Hollywood Palladium, with GEORGE BENSON on guitar, FREDDIE HUBBARD on trumpet, HUBERT LAWS on flute, STANLEY TURRENTINE on tenor saxophone, HANK CRAWFORD on alto saxophone, JOHNNY HAMMOND on organ and electric piano, RON CARTER on bass, BILLY COBHAM on drums and AIRTO MOREIRA on percussion.
Californina Concert: The Hollywood Palladium is newly remastered from the original two-track analog tapes and is the most complete version of the legendary concert ever released. This 2-CD set doubles the content of the original five-song LP release with five additional tracks - three of them previously unreleased - and restores the original concert sequence for the first time.
Californina Concert: The Hollywood Palladium is newly remastered from the original two-track analog tapes and is the most complete version of the legendary concert ever released. This 2-CD set doubles the content of the original five-song LP release with five additional tracks - three of them previously unreleased - and restores the original concert sequence for the first time.
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23 of 23 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Two discs 77, 76 minutes each approximately. The sound has been remixed from the original 8-track master tapes, and is clean and warm sounding. Each disc is slipped in , bare, into cardboard pockets inside the tri-fold cardboard holder. Inside the fold-out is a reproduction of an article by Leonard Feather on the concert, along with b&w photos of the musicians. The booklet has a six page essay on Creed Taylor, CTI Records and the artists/tracks from this concert. Also included is a track by track listing of songs titles and who played on each track. This edition contains three previously unreleased tracks.
This concert, recorded in 1971 at the Hollywood Palladium, in L.A., is a fine example of a particular sound in jazz at that time. All the musicians recorded for Taylor's company, and this concert was the first by the group, known as the CTI ALL-STARS. The music is a blend of straight ahead jazz, some funk, some pop, some soul, and a bit of a progressive style mixed together. The musicians on this set are-George Benson-guitar, Freddie Hubbard-trumpet/flugelhorn, Hubert Laws-flute, Stanley Turrentine-tenor sax, Hank Crawford-alto sax, Johnny Hammond-organ/electric piano, Ron Carter-bass, Billy Cobham-drums, and Airto Moreira-percussion.
Beginning with (a previously unreleased) "Impressions" by John Coltrane, the band stretches out on a long version (24 minutes) of this well known tune, and it sets the scene for whats to come. All the band members get a chance to show their chops on this tune, and the 4/4 time and the simple song form lets the band set up a nice groove. "Fire and Rain" is a feature for Hubert Laws on flute, and here he really surpasses the studio version of this popular song. Both Benson and Hammond play some fairly funky grooves which stand in contrast to Laws' Coltrane like playing.The well known "Red Clay" which Freddie Hubbard made his signature tune, begins slowly and builds into a funky/jazzy arrangement for Hubbard, Turrentine, and Benson. The rhythm section backs the soloists perfectly, which gives them the freedom to solo wherever they wish. "Blues West" is in a blues form with a helping of soul and a bit of funk mixed in for good measure. All the band members get a chance to be heard on this track to great advantage. This track is used to introduce the band members to the audience, and they all acquit themselves well. The final track is (also previously unreleased) "So What", made famous by the great Miles Davis. As with a lot of this music, there's a bit of funk mixed in to give added spice to the composition, and it seems to work very nicely. Benson gets off some good solo work, showing his command of different jazz styles.
The second disc begins with the classic "Here's That Rainy Day". Hubbard is the featured soloist, and he plays this slow, emotional ballad for all it's worth. Benson can be heard in the background with some beautiful fills from his guitar. The rhythm section stays back and subtly drives this tune along, giving Hubbard a chance to blow some fine blues inflected notes. Carole King's "It's Too Late", then very popular, has Hammond's organ out front, and he and Hank Crawford on alto sax play this tune pretty straight to the original. Once again Benson gets to show just how good he was on his instrument with his understated playing. Stanley Turrentine's "Sugar" (and a definite highlight of this concert), one of his most famous/popular songs is given the treatment by Turrentine, Hubbard, and Benson. This is also a good vehicle for Carter's bass-he's all over this tune with a good solo, showing his command of his instrument. But far and away Turrentine's warm tenor sax is the star, and rightly so-this is probably his most popular tune with jazz fans. The new tune "Leaving West", composed by both Turrentine and Carter is jazz in a bit of a funk mode. Turrentine shines on this track, as does Benson, who gets in a fiery solo. This is also where Airto Moreira gets his chance to play his assortment of percussion instruments-some which he made himself. His contribution on this track proves why he was an in demand player for many artists. The final tune, Freddie Hubbard's "Straight Life" (previously unreleased), which became his signature song, is given a very long treatment (19+ minutes) with little wasted space. Besides Hubbard, Turrentine turns in another fine solo-at times playing with more fire than normally associated with either him or this style of jazz. His harmonic explorations of the basic tune set this particular version above the rest. Drummer Billy Cobham gets a chance to step outside his fine, solid rhythm keeping for a well deserved segment-showing that his future work in jazz-fusion could be heard in 1971, in a jazz setting far from any type of fusion playing.
This set is far and away better than the original vinyl release (which I still own), and any subsequent CD releases. Fans of straight ahead jazz, or of any of the musicians involved, will find much to like here. The combination of jazz, soul, funk, blues, and popular music, mixed into a somewhat (for the era) progressive style is very appealing. In this music you'll hear so many fine solos, so many fine arrangements, that multiple listenings are mandatory. But that's fine-because this music is so good that hearing it over again will bring something to the your ears you missed the first time. This music is a perfect example of jazz from an era when jazz (and jazz concerts) was dying. But these fine musicians, at least on a few nights, set people straight as to just what straight ahead jazz should sound like. The only thing better would be to have been sitting in the crowd, but this release is a close second.
This concert, recorded in 1971 at the Hollywood Palladium, in L.A., is a fine example of a particular sound in jazz at that time. All the musicians recorded for Taylor's company, and this concert was the first by the group, known as the CTI ALL-STARS. The music is a blend of straight ahead jazz, some funk, some pop, some soul, and a bit of a progressive style mixed together. The musicians on this set are-George Benson-guitar, Freddie Hubbard-trumpet/flugelhorn, Hubert Laws-flute, Stanley Turrentine-tenor sax, Hank Crawford-alto sax, Johnny Hammond-organ/electric piano, Ron Carter-bass, Billy Cobham-drums, and Airto Moreira-percussion.
Beginning with (a previously unreleased) "Impressions" by John Coltrane, the band stretches out on a long version (24 minutes) of this well known tune, and it sets the scene for whats to come. All the band members get a chance to show their chops on this tune, and the 4/4 time and the simple song form lets the band set up a nice groove. "Fire and Rain" is a feature for Hubert Laws on flute, and here he really surpasses the studio version of this popular song. Both Benson and Hammond play some fairly funky grooves which stand in contrast to Laws' Coltrane like playing.The well known "Red Clay" which Freddie Hubbard made his signature tune, begins slowly and builds into a funky/jazzy arrangement for Hubbard, Turrentine, and Benson. The rhythm section backs the soloists perfectly, which gives them the freedom to solo wherever they wish. "Blues West" is in a blues form with a helping of soul and a bit of funk mixed in for good measure. All the band members get a chance to be heard on this track to great advantage. This track is used to introduce the band members to the audience, and they all acquit themselves well. The final track is (also previously unreleased) "So What", made famous by the great Miles Davis. As with a lot of this music, there's a bit of funk mixed in to give added spice to the composition, and it seems to work very nicely. Benson gets off some good solo work, showing his command of different jazz styles.
The second disc begins with the classic "Here's That Rainy Day". Hubbard is the featured soloist, and he plays this slow, emotional ballad for all it's worth. Benson can be heard in the background with some beautiful fills from his guitar. The rhythm section stays back and subtly drives this tune along, giving Hubbard a chance to blow some fine blues inflected notes. Carole King's "It's Too Late", then very popular, has Hammond's organ out front, and he and Hank Crawford on alto sax play this tune pretty straight to the original. Once again Benson gets to show just how good he was on his instrument with his understated playing. Stanley Turrentine's "Sugar" (and a definite highlight of this concert), one of his most famous/popular songs is given the treatment by Turrentine, Hubbard, and Benson. This is also a good vehicle for Carter's bass-he's all over this tune with a good solo, showing his command of his instrument. But far and away Turrentine's warm tenor sax is the star, and rightly so-this is probably his most popular tune with jazz fans. The new tune "Leaving West", composed by both Turrentine and Carter is jazz in a bit of a funk mode. Turrentine shines on this track, as does Benson, who gets in a fiery solo. This is also where Airto Moreira gets his chance to play his assortment of percussion instruments-some which he made himself. His contribution on this track proves why he was an in demand player for many artists. The final tune, Freddie Hubbard's "Straight Life" (previously unreleased), which became his signature song, is given a very long treatment (19+ minutes) with little wasted space. Besides Hubbard, Turrentine turns in another fine solo-at times playing with more fire than normally associated with either him or this style of jazz. His harmonic explorations of the basic tune set this particular version above the rest. Drummer Billy Cobham gets a chance to step outside his fine, solid rhythm keeping for a well deserved segment-showing that his future work in jazz-fusion could be heard in 1971, in a jazz setting far from any type of fusion playing.
This set is far and away better than the original vinyl release (which I still own), and any subsequent CD releases. Fans of straight ahead jazz, or of any of the musicians involved, will find much to like here. The combination of jazz, soul, funk, blues, and popular music, mixed into a somewhat (for the era) progressive style is very appealing. In this music you'll hear so many fine solos, so many fine arrangements, that multiple listenings are mandatory. But that's fine-because this music is so good that hearing it over again will bring something to the your ears you missed the first time. This music is a perfect example of jazz from an era when jazz (and jazz concerts) was dying. But these fine musicians, at least on a few nights, set people straight as to just what straight ahead jazz should sound like. The only thing better would be to have been sitting in the crowd, but this release is a close second.
8 of 8 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
CTI records, which 40 years ago was a raging success with the new jazzfusion sound, is now reissuing most of their key albums, just as they had done 20 years ago. The centerpiece of CTI records' reissue overview, is their 4CD box set, THE COOL REVOLUTION. Don't misunderstand me, that's a nice set. However, the problem that Creed Taylor's jazzfusion albums have faced since those years after Miles Davis' BITCHES BREW changed the sound of jazz almost overnight, is that the production values, ie, STRING CHARTS/ORCHESTRATIONS, tended to make much of the CTI catalouge sound TOO SMOOTH, to sound like authentic JAZZ ROCK FUSION. From the standpoint of the big jazz fusion albums (Miles Davis' BITCHES BREW, John McLaughlin's BIRDS OF FIRE, Herbie Handcock's HEAD HUNTERS, Chick Corea's RETURN TO FOREVER), this is undebatable. String charts, with other orchestrated colorings, no matter how restrained or inventive Sebesky wrote the charts, did produce a sound at times closer to "Soft jazz". The irony is that in the 1950s, PARKER WITH STRINGS, or BILLIE HOLIDAY with strings, was a symbol of high class jazz. For that matter, add to the list Mile's albums in collaboration with Gil Evans. Now, consider the SMOOTH JAZZ (read: death via Elevator muzak)that people listen to today, like Kenny G. No wonder people equate string charts with schmuck-jazz. Yet to this day, these CTI albums, even tho they were often made by the very people who INVENTED JAZZ FUSION while working with Miles Davis, or who played with Weather Report, or Return to Forever, are considered "lite jazz', or instrumental music, due to the instrumentation used on some numbers. AND TO COUNTER THIS FALSE IDEOLOGY, what better place to start a reevaluation of the CTI catalouge, than with the CALIFORNIA CONCERT expanded to 2CDs, more than even the 4CD box set of (mostly) studio recordings?
THE CALIFORNIA CONCERT at The Hollywood Palladium was recorded by Wally Heider, famous for recording a lot of the psychedelic rock bands of the era. Listening to this recording, you could almost swear its a studio recording, except for the whistles and hollers after some particularly hot solo. The sound is crystal clear, everything micked and mixed to the same standards you hear on the studio albums. SO, what's missing? ORCHRESTRATIONS. They are not missed. About the only missing element you become aware of listening to the concert, is that only ONE keyboardist was present, Johnny Hammond, playing a Hammond B3 organ, and electric piano. No Herbie Handcock, and oddly, no DEODATO. Of course Herbie wasnt a CTI artist--he just played on many of the sessions. DEODATO hadnt recorded his first album yet with CTI, so he wouldnt be present here either. Instead, you have EACH OF THE MAJOR PLAYERS on the CTI roster, playing their best songs, backing each other up, and producing something like the WOODSTOCK OF JAZZ for that evening. THE concert opens with a long blowing session over John Coltrane's IMPRESSIONS, marred only by almost 5 minutes of introductions over the music. Next, Hubert Law's plays FIRE AND RAIN recorded on his AFRO JAZZ album, followed by RED CLAY from Freddie Hubbart's hit album RED CLAY. BLUES WEST (Written by DEODATO) is an emsemble piece like the Coltrane song, followed by George Benson's version of SO WHAT, which he'd recorded on his BEYOND THE BLUE HORIZON album. The second CD opens with Freddie Hubbard's HERE'S THAT RAINY DAY from his "Straight Life" album, followed by ITS TOO LATE (the Carole King mega-hit) from Johnny Hammond's first album for CTI (KUDU) records. Then, you get a real highlight, SUGAR, by Stanley Turrentine. That's followed by another emsemble blowing number, LEAVING WEST, by Ron Carter and Stanley Turrentine. The show closes with STRAIGHT LIFE by Freddie Hubbard. Each song is a monster jam. Most of all, the concert represented the real "family affair" vibe going on with each of these musician's studio recording, since guest soloing on each other's albums was the name of the game at CTI records. As for really discribing these songs, I'm at a lose. You have AIRTO on percussion, who played with Miles Davis, Weather Report, Return to Forever, and Mahavishnu Orchestra. IF Airto's albums for CTI records had been released by 1971, I would have loved to have heard his solo voice in this collection. The RON CARTER/BILLY COBHAM rythym section cooked on endless HIGH for the whole show. When the horn section was required for a piece, Hank Crawford played alto, with Turrentine on tenor, and Hubbard on Trumpet. Johnny Hammond's keyboard work filled out the sonic palatte, with Herb Law's Flute playing adding his virtuosity to the mix, which to my ears agrees to modern tastes far more than Herbie Mann on the instrument. Then, there is George Benson on guitar...this is long before BREEZIN and BROADWAY sold out his credibility as a jazz purist. My biggest shock getting to know these CTI albums during the last couple of months, was how great George Benson was as a jazz guitarist.
To wrap this up, let me just say that if you want to hear these CLASSIC numbers, played live by some of the biggest names in Jazz fusion in 1971, this is where you got to go. Sure, buy A COOL REVOLUTION if you dont know the whole range of CTI / KUDU recordings. Too many great voices and albums arent on this concert album, if you want to know what CTI records were all about. BUT, to listen to these numbers, without the string arrangements, orchestrations, and other colorings that might scream SMOOTH JAZZ to today's jaded ears, by all means BUY THE CALIFORNIA CONCERT. Dont skimp, and get the old one CD edition used for a couple of dollars. Almost all these songs stretch out for 15-20 minutes, and if you consider these guys ONE BAND, then they were the hottest thing around in 1971. After you get this album, you can decide for yourself, if the CTI artist roster were a bunch of lightweight sell outs, or serious jazz musicians taking the avant guard extremes out of jazz, and bringing the music to the people. I'm surprised this particular album isnt more highly esteemed, given the quality of the songs, the recording sound, and the musicians playing.
THE CALIFORNIA CONCERT at The Hollywood Palladium was recorded by Wally Heider, famous for recording a lot of the psychedelic rock bands of the era. Listening to this recording, you could almost swear its a studio recording, except for the whistles and hollers after some particularly hot solo. The sound is crystal clear, everything micked and mixed to the same standards you hear on the studio albums. SO, what's missing? ORCHRESTRATIONS. They are not missed. About the only missing element you become aware of listening to the concert, is that only ONE keyboardist was present, Johnny Hammond, playing a Hammond B3 organ, and electric piano. No Herbie Handcock, and oddly, no DEODATO. Of course Herbie wasnt a CTI artist--he just played on many of the sessions. DEODATO hadnt recorded his first album yet with CTI, so he wouldnt be present here either. Instead, you have EACH OF THE MAJOR PLAYERS on the CTI roster, playing their best songs, backing each other up, and producing something like the WOODSTOCK OF JAZZ for that evening. THE concert opens with a long blowing session over John Coltrane's IMPRESSIONS, marred only by almost 5 minutes of introductions over the music. Next, Hubert Law's plays FIRE AND RAIN recorded on his AFRO JAZZ album, followed by RED CLAY from Freddie Hubbart's hit album RED CLAY. BLUES WEST (Written by DEODATO) is an emsemble piece like the Coltrane song, followed by George Benson's version of SO WHAT, which he'd recorded on his BEYOND THE BLUE HORIZON album. The second CD opens with Freddie Hubbard's HERE'S THAT RAINY DAY from his "Straight Life" album, followed by ITS TOO LATE (the Carole King mega-hit) from Johnny Hammond's first album for CTI (KUDU) records. Then, you get a real highlight, SUGAR, by Stanley Turrentine. That's followed by another emsemble blowing number, LEAVING WEST, by Ron Carter and Stanley Turrentine. The show closes with STRAIGHT LIFE by Freddie Hubbard. Each song is a monster jam. Most of all, the concert represented the real "family affair" vibe going on with each of these musician's studio recording, since guest soloing on each other's albums was the name of the game at CTI records. As for really discribing these songs, I'm at a lose. You have AIRTO on percussion, who played with Miles Davis, Weather Report, Return to Forever, and Mahavishnu Orchestra. IF Airto's albums for CTI records had been released by 1971, I would have loved to have heard his solo voice in this collection. The RON CARTER/BILLY COBHAM rythym section cooked on endless HIGH for the whole show. When the horn section was required for a piece, Hank Crawford played alto, with Turrentine on tenor, and Hubbard on Trumpet. Johnny Hammond's keyboard work filled out the sonic palatte, with Herb Law's Flute playing adding his virtuosity to the mix, which to my ears agrees to modern tastes far more than Herbie Mann on the instrument. Then, there is George Benson on guitar...this is long before BREEZIN and BROADWAY sold out his credibility as a jazz purist. My biggest shock getting to know these CTI albums during the last couple of months, was how great George Benson was as a jazz guitarist.
To wrap this up, let me just say that if you want to hear these CLASSIC numbers, played live by some of the biggest names in Jazz fusion in 1971, this is where you got to go. Sure, buy A COOL REVOLUTION if you dont know the whole range of CTI / KUDU recordings. Too many great voices and albums arent on this concert album, if you want to know what CTI records were all about. BUT, to listen to these numbers, without the string arrangements, orchestrations, and other colorings that might scream SMOOTH JAZZ to today's jaded ears, by all means BUY THE CALIFORNIA CONCERT. Dont skimp, and get the old one CD edition used for a couple of dollars. Almost all these songs stretch out for 15-20 minutes, and if you consider these guys ONE BAND, then they were the hottest thing around in 1971. After you get this album, you can decide for yourself, if the CTI artist roster were a bunch of lightweight sell outs, or serious jazz musicians taking the avant guard extremes out of jazz, and bringing the music to the people. I'm surprised this particular album isnt more highly esteemed, given the quality of the songs, the recording sound, and the musicians playing.
1 of 1 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
These are truly masters WOW what a treat! There is nothing I could say that would adequately describe the sound.
Most Recent Customer Reviews
2.0 out of 5 stars
A bit bland
With all due respect to the other reviewers, this album is simply not very good. The MC that introduces the band and tries to get the crowd going is so cheesy that it is a... Read more
Published 19 months ago by Jay Adam
5.0 out of 5 stars
Jazz live at its best
Straight to the point: one of the best and warm jazz live recordings. The invited musicians were the top jazzmen at that time. Read more
Published 19 months ago by Jose Mario Serra
5.0 out of 5 stars
Mike's picks
If you like your Jazz live, this is a must have. The sound quality is great and the music is better. If you are a fan of CTI records you can not go wrong with this 2-cd set.
Published 22 months ago by Mike's picks
5.0 out of 5 stars
A must have for any classic jazz lover
I heard a couple of tracks off this album on a local jazz radio program, wrote down "California Concert" and Freddie Hubbard. Read more
Published 23 months ago by Tharpy
5.0 out of 5 stars
EXCELLENT REISSUE!
WOW! This is a great reissue!
Expanded, remastered (I suppose, it sounds great!), and cased in an attractive cardboard gatefold, this 2 CD set features many prominent CTI... Read more
Expanded, remastered (I suppose, it sounds great!), and cased in an attractive cardboard gatefold, this 2 CD set features many prominent CTI... Read more
Published on April 6, 2011 by J. Kuczenski
5.0 out of 5 stars
World class jazz played by all time greats
What an incredible concert this is! Every musician that was involved in this concert is a virtuoso on his chosen instrument. Talk about an all star lineup. Read more
Published on December 20, 2010 by J. McKeon
5.0 out of 5 stars
A fine outing.
Altoist Bud Shank and flugelhornist Shorty Rogers worked together on a fairly regular basis after Rogers returned to active playing in 1982. Read more
Published on October 30, 2007 by Patricia Hennessy
