Thanks for the Heads Up on this site Jim.I am not a huge fan of the CTI sound.They did release some phenomenal LPs (Jim Hall Concierto comes to mind),but my main beef is with their arrangements,which are not to my taste.I like their funkier style (Lonnie Smith Mama Wailer for example)but the pop songs and strings lose me.That said I always enjoy a music site that is informative and well laid out.Which this one certainly is.
Rediscover CTI Records & Jazz Record History
Fans of CTI jazz records will enjoy this comprehensive resource http://www.dougpayne.com/cti2.htm documenting the history of Creed Taylor Industries, more commonly identified by the initials “CTI”.
CTI aesthetics (trademark “CTI look and sound”) included a gorgeous sonic signature made possible by long time jazz recording engineer Rudy Van Gelder and Creed Taylor’s producing (formerly of Verve and A&M records). Many of the classic CTI recordings of the best known 6000 series feature trademark excellent studio recordings with exceptional soundstage, sonic depth, warmth, and detail. Lucky listeners with high quality turntables and tube electronics will be treated to reference quality sound reproduction in addition to high quality musicianship. This link is an exceptional resource by Doug Payne for CTI fans with its history of the different CTI divisions and, more importantly, an extensive discography of CTI's lp covers all in one place.
CTI defined stylized 1970’s jazz with their iconic bold artistic color lp covers and lush string background arrangements of pop-funk style jazz music. CTI blazed a controversial path off the narrow traditional pre-1970's jazz market into the popular mainstream of American music. Recruiting “old school” jazz stars (Milt Jackson, Kenny Burrell, Freddie Hubbard, Paul Desmond) of the previous era and discovering fresh young talented stars (George Benson, Grover Washington, Bob James, Hubert Laws), CTI presented America with jazz in a new sonic and visual package. Traditionalists were aghast at the syroupy string arrangements of CTI's jazzed-up pop tunes but CTI’s ability to present talented jazz instrumentalists against a catchy funk style backdrop soon found a profitable market in the exploding 1970’s music market. The rest is a well deserved chapter in American music history. Enjoy.
CTI aesthetics (trademark “CTI look and sound”) included a gorgeous sonic signature made possible by long time jazz recording engineer Rudy Van Gelder and Creed Taylor’s producing (formerly of Verve and A&M records). Many of the classic CTI recordings of the best known 6000 series feature trademark excellent studio recordings with exceptional soundstage, sonic depth, warmth, and detail. Lucky listeners with high quality turntables and tube electronics will be treated to reference quality sound reproduction in addition to high quality musicianship. This link is an exceptional resource by Doug Payne for CTI fans with its history of the different CTI divisions and, more importantly, an extensive discography of CTI's lp covers all in one place.
CTI defined stylized 1970’s jazz with their iconic bold artistic color lp covers and lush string background arrangements of pop-funk style jazz music. CTI blazed a controversial path off the narrow traditional pre-1970's jazz market into the popular mainstream of American music. Recruiting “old school” jazz stars (Milt Jackson, Kenny Burrell, Freddie Hubbard, Paul Desmond) of the previous era and discovering fresh young talented stars (George Benson, Grover Washington, Bob James, Hubert Laws), CTI presented America with jazz in a new sonic and visual package. Traditionalists were aghast at the syroupy string arrangements of CTI's jazzed-up pop tunes but CTI’s ability to present talented jazz instrumentalists against a catchy funk style backdrop soon found a profitable market in the exploding 1970’s music market. The rest is a well deserved chapter in American music history. Enjoy.
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