It's fun in the ways these things were fun back then and one can't fault Mr. This is certainly enjoyable once you get in your time machine. Even in 1976, this record seemed surprising and, to many, hugely disappointing. I hope to see it! You may try to continue using the Dusty Groove website, and if you have any trouble placing your order online we suggest you make a list of the items you wish to buy order by phone at Monday through Friday, 10am—4pm, Central Time. I'm just not sure this is a true soundtrack album. As far as I know this never came out on cd, which is a shame. Baraka Sasa Hubbard - 10:30 04.
Others like ,,,, gives its props to every Freddie Hubbard collector. Hubbard solos magnificently here, seemingly engaged in James's clever take on the song. Hubbard for wanting to have a hit record, but these things don't date especially well - well, it would without the chorus and the relentless and ordinary electric bass pounding away. This is actually one of the better Cinerama type documentaries which came along in the 1950's, and deserves to be seen and heard again by a whole new generation For that matter, all of the Cinerama movies need to be made available again, if for nothing else than a history lesson and a good look at how things were back then. The quintet is fantastic — and includes Woody Shaw, Ronnie Matthews, Stafford James, and Louis Hayes. Prove them wrong, it's remains a great classic and it's the best. Black Maybe Wonder - 4:58 03.
To hear this, if you can find it, a compact disc of the soundtrack for Cinerama South Seas Adventure has been made available with all of the music from that movie. Windjammer was an even greater step toward crossover music. Freddie Hubbard got a bad rap from jazz critics while at Columbia -- most absolutely hated the music he made there because it indulged pop, soul, funk, and even disco abundantly. Camel Rise Cables - 6:24 02. Um, I love that the majority of the reviews here are for some soundtrack to the movie Windjammer. He got the last laugh, though. Hubbard produced Liquid Love himself, and utilized the talents of a large group of players; only Cables remained.
In fact, this was the first successful time a stereophonic sound system had been used in the movies. Ebony Moonbeams Cables - 7:01 06. This is a 1970s album - it smells, feels, reeks of the 1970s. This session was cut Direct-To-Disc, and. Its vibe, energy, flavor and creativity all match through this entire album produced by Bob James who else performs on this album. You might be interested A great session that was recorded by Freddie Hubbard in the 60s, but not issued by Blue Note until the mid 70s — and only then as part of a short-lived double length set! I understand they are restoring this movie and it would be most refreshing to have a restored compact disc version of the soundtrack as well. Backed by a typically huge group of New York City studio pros, including soloists Eric Gale, Hubert Laws and Michael Brecker Patti Austin and Gwen Guthrie are among the vocalists , Hubbard seems at times to be sublimated by James's charts or the occasional vocals.
Put It in the Pocket Hubbard-Randall - 4:22 03. Did alot of research of this album that Freddie put out in the '70s and to this day remains one of the ultimate jazz funk albums he ever dropped. I owned this record as a child and teen, and have fond memories of Windjammer in it's ultra wide screen glory when it came out in 1958. For example, the guy who sings the song Kari Waits For Me on the album is not the same as the guy who sang it in the movie. Morton Gould's music is of the highest calibre, Coplandesque 20th century symphonic music.
Windjammer was perhaps the least successful project either Hubbard or James had ever worked on. The album was so good, that it stayed in print until at least the late 60's and perhaps longer, highly unusual for a film soundtrack album at the time. The record contains a plaintively beautiful Pablo Casals cello solo, and some enjoyable folk music, some authentic, some of the late 50's Limelighters variety. This apparently happened quite a lot in the 1950's and 1960's, but the record buying public was unaware of the change. Produced by the well-noted Paul A.
The album's got Freddie fronting a very large group — one arranged by Allyn Ferguson, who also penned some of the album's best tracks as. But not only does it serve as a template for the work James would do at Tappan Zee, it really has some terrifically exciting moments that are hugely memorable - at least when given half the chance. The liner essay by Charles Waring is historically authoritative and musically insightful. Hubbard wasn't really even thinking about recording jazz. This might include, but isn't limited to, warped records, tracks that skip, cover damage or wear as noted above, or strictly cosmetic flaws. The only member of Hubbard's touring band at that time that was allowed to take part of the proceedings was George Cables. Lost Dreams Cables - 12:31 04.
These projects were such huge successes that by 1977, Columbia offered James his own label and Tappan Zee was born. It is jazz-funk at its best. If mid-'70s jazz-funk is your thing, you simply cannot go wrong with this collection. If my memory serves, the album never was released in true stereo; there was a mono version and a simulated stereo one. The reviewer who carps about the album being not authentic is misguided. I love Hubbard, but these albums do grow weary. For instance, there is no main title, intermission or exit music, nor is the part where the cadet plays with Arthur Fielder and the Boston Pops on the album.
It wasn't until the days of the video tape and video discs did we learn how the record companies had gyped us. Cinerama was a process which utilized three cameras tied in as one and was projected by three projectors on a huge curved screen with a stereophonic sound system which matched the pictures. The two Hubbard pieces heard here don't rank high among his output but are solid features nonetheless, particularly the title track, which features great solos by Hubbard and Brecker and an oddly overdubbed passage by James. A shame why Jazz critics and fans alike were dissatisfied or shunned about this unforgotten gem. He was one of a kind. The whole session is made up of 4 tracks, and they were recorded during the time when Roy was playing with Herbie Mann, and recording on Atlantic. I am scratching the old noggin' right now.