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| 1. | Firebird/Bird of Fire
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| 2. | Song to a Seagull
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| 3. | Free as a Bird
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| 4. | Psalm 150
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| 5. | Vocalise
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| 6. | Fly/Circles
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| 7. | Semi-Tough
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Jazz
Airto - Percussion
Al Brown - Violin
Alan Raph - Horn (Baritone), Trombone (Bass)
Alan Rubin - Flugelhorn, Trumpet
Alan Shulman - Cello
Billy Cobham - Drums
Bob Ciano - Design
Bob James - Keyboards, Organ, Piano, Soloist
Carl Caldwell - Vocals (Background)
Charles Livobe - Violin
Charles McCracken - Cello
Creed Taylor - Producer
Dave Friedman - Percussion
David Nadien - Violin
Don Sebesky - Accordion, Arranger, Clavinet, Composer, Conductor, Keyboards, Organ, Piano, Piano (Electric), Soloist, Vocals
Earl Chapin - French Horn
Elliot Rosoff - Violin
Emanuel Green - Violin
Freddie Hubbard - Flugelhorn, Soloist, Trumpet
Garnett Brown - Trombone
Gene Orloff - Violin
George Benson - Guitar, Soloist
George Marge - Clarinet, Flute, Horn (English), Oboe, Sax (Baritone), Sax (Soprano)
George Ricci - Cello
Grover Washington - Sax (Alto), Sax (Soprano)
Grover Washington, Jr. - Sax (Alto), Sax (Soprano), Soloist
Harold Kohon - Violin
Harry Cykman - Violin
Harry Glickman - Violin
Harry Leahey - Guitar
Harry Lookofsky - Violin
Homer Mensch - String Bass
Hubert Laws - Flute, Soloist
Igor Stravinsky - Composer
Irving Spice - Violin
Jack DeJohnette - Drums
Jackie & Roy - Vocals
Jackie Cain - Vocals
Jerry Dodgion - Clarinet, Flute, Piccolo, Sax (Soprano)
Jim Buffington - French Horn
Jimmy Webb - Composer
Joe Farrell - Sax (Soprano), Soloist
Joe Malin - Violin
Joe Shepley - Flugelhorn, Trumpet
John McLaughlin - Composer
Joni Mitchell - Composer
Lani Groves - Vocals (Background)
Margaret Row - Harp
Maria Triana - Mastering
Mark Wilder - Mastering
Max Ellen - Violin
Milt Jackson - Soloist
Paul Desmond - Sax (Alto), Soloist
Paul Gershman - Violin
Paul Paulise - Horn (Baritone), Trombone (Bass)
Pete Turner - Producer
Phil Bodner - Clarinet, Flute, Horn (English), Oboe, Piccolo, Sax (Soprano), Sax (Tenor)
Phil Kraus - Percussion
Ralph MacDonald - Percussion
Randy Brecker - Flugelhorn, Trumpet
Richard Seidel - Reissue Producer
Romeo Penque - Clarinet, Flute, Horn (English), Oboe, Piccolo, Sax (Soprano)
Ron Carter - Bass, Bass (Electric), Piccolo Bass
Roy Kral - Vocals
Rubens Bassini - Conga
Rudy Van Gelder - Engineer
Sergei Rachmaninoff - Composer
Seymour Barab - Cello
Tasha Thomas - Vocals (Background)
Tony Price - Tuba
Walt Levinsky - Clarinet, Sax (Tenor)
Warren Covington - Horn (Baritone), Trombone
Wayne Andre - Horn (Baritone), Trombone
This may have been Creed Taylor's most ambitious single project. As the cash was flowing in the wake of Deodato's massive "2001" hit, Taylor rounded up almost every headliner on CTI's roster, had house-arranger Don Sebesky write big-thinking charts for them, and gave Sebesky top billing and two LPs of space. Two decades later, the lineup reads almost like a gathering of the gods -- Freddie Hubbard, Randy Brecker, Hubert Laws, Paul Desmond, Joe Farrell, Grover Washington, Jr., Milt Jackson, George Benson, Bob James, Ron Carter, Jack DeJohnette, Billy Cobham, Airto Moreira, Jackie Cain and Roy Kral, all on one album. Thankfully the musicmaking lives up to the billing. Everything that gave CTI its distinctive sound and identity is here -- the classical adaptations (Stravinsky's Firebird is merged shotgun-style with John McLaughlin's "Birds of Fire"), elaborate orchestrations and structuring, pop-tune covers, plenty of room for the star soloists to stretch out in a combo format. The stars all come out to shine; Desmond sounds especially inspired in a shimmering "Song to a Seagull" and Hubbard and Washington burn furiously on the appropriately-titled "Free as a Bird." And Sebesky was given a flyer to experiment; hence the wild extended swarms of freeform strings on "Firebird" and Laws' fancy Echoplexed winds on "Fly." The two original LPs were gathered in a classical-style box, complete with a booklet of photos and an interview with Sebesky, but the austere CBS CD reissue condenses everything onto a generic single disc. However less ostentatious, Giant Box still ranks as a sensational coup and a reminder of how potent CTI was at its peak. ~ Richard S. Ginell, Rovi
Don Sebesky
Active Decades: '50s, '60s and '70s
Born: Dec 10, 1937 in Perth Amboy, NJ
Genre: Jazz
Styles: Instrumental Pop, Hard Bop, Crossover Jazz, Progressive Jazz
D. Sebesky is best known as house arranger for many of producer Creed Taylor's Verve, A&M, and CTI productions; the man whose orchestral backgrounds helped make artists like Wes Montgomery, Paul Desmond, Freddie Hubbard, and George Benson acceptable to audiences outside of jazz. He has taken critical heat for this, but Sebesky's arrangements have usually been among the classiest in his field, reflecting a solid knowledge of the orchestra, drawing variously from big band jazz, rock, ethnic music, classical music of all eras, and even the avant-garde for ideas. He once cited Bartok as his favorite composer, but one also hears lots of Stravinsky in his work.
Sebesky started out professionally as a trombonist while still at the Manhattan School of Music, working with Kai Winding, Claude Thornhill, the Tommy Dorsey Band led by Warren Covington, Maynard Ferguson, and Stan Kenton. In 1960, he gave up the trombone to concentrate upon arranging and conducting, eventually receiving the breakthrough assignment of Montgomery's Bumpin' album (1965). Some of the most attractive examples of his work for jazz headliners include Bumpin', Benson's The Shape of Things to Come, Desmond's From the Hot Afternoon, and Hubbard's First Light. He began to step out into the spotlight with the release of his all-star Giant Box, which was followed by sporadic further releases on CTI and GNP/Crescendo. He has also written classical works and a book, -The Contemporary Arranger (Port Washington, NY, 1975).
---Richard S. Ginell, All Music Guide |
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