CREED TAYLOR: CTI RECORDS the Next Wave

By Robert J. Carmack

Recently we lost a monumental figure of an era in music, Jazz in particular, Creed Taylor. Taylor pronounced dead in his home in Nuremburg, Germany. It appeared that he was unable to recover from a severe stroke just prior to his death. Beginning in 1950s Taylor excelled in productions and talent scouting. This led to the early creation of the “house that TRANE” built, Impulse Records, circa 1960. Also during the early years at Impulse, he again struck gold by signing saxophonist, Stan Getz. That alliance spawned several hit albums and a “Bossa Nova ,USA movement. In addition to Getz, he also introduced the world to Joao Gilberto. He penned several Bossa Nova hits, none bigger than the Girl from Ipanema, sung in both English and Portuguese by his beautiful and sultry wife, Astrud, a  multi-Grammy-winner for the Getz/Gilberto Album.

One of Creed’s inspiring heroes in music was the creator of Jazz at the Philharmonic, Norman Granz. He made monumental concerts and tours in Europe with some of the biggest and brightest Jazz stars out of USA.Taylor easily slipped into that Granz role of A&R/ Producer for Verve Records in Jazz division.

One of his top collaborations in music was with the great conductor and arranger, Don Sabesky. Who’s fingerprints were all over the best of Verve artists on the roster. The other great collaboration and “Gold Strike” discovery was the quite different guitarist, Wes Montgomery. He had a smooth delivery with more of a “thumbing” approach as oppose to strumming with pick. Also, he added a technique which some called a double-stop chording effect. This allowed Montgomery to play clean and still swing hard as required by jazz idioms. This writer was first faced with that sound in early/mid-60s album cuts from album Moving Wes, Bumpin, Tequila, Going Out of my Head, & who could forget the very soulful “Bumpin” on Sunset a multi-award winner cut and composition. It was the “Darling” of the Pop & jazz Radio audiences. Again, Taylor brings in Don Sebesky and his orchestra on the Montgomery sound and popularity. Claus Ogerman was prominent on the Tequila album. Taylor being the talent scout he was, found out “He” was being recruited by a new label in pop and mainstream music. Herb Alpert of Tijuana Brass fame was earning Big buckets of money in his new label via the Tijuana Brass, Baja Marimba band and other POP and novelty records selling like hot cakes to a starved audience. As Creed Taylor was coming over to the Herb Alpert/Jerry Moss label, To develop their new jazz division under the small creative label CTI(Creed Taylor Inc.) the first fruits were an album entitled, A Day in the Life (made popular by the Beatles)other great songs on that album were  Watch what happens, When a Man loves a woman, California Nights and Angel, all anchored by the title track, A Day in the Life.(1967)

It appeared to me, even at the young age of 17, I could draw that, this was a brilliant move by Alpert/Moss label. Ripping-off a keystone artist on his previous label at Verve, and introducing this fabulous guitarist to a new hip and open-minded audiences. An artist who could play jazz at its highest level , while still being approachable by young and older audiences. Heavy pop tunes were selected by Taylor, like the Association, Beatles, other popular young group tunes. They were brought back to life with jazz guitar on not only radio, but by 1968, Wes Montgomery was on Prime-time TV shows produced by Alpert/Moss. Needless to say, this garners TV show awards for the young Record label. Unfortunately for A&M Records, Wes Montgomery was dead by summer of 1968. Reeling from their loss of the Cash cow in Montgomery hits that played on AM and FM stations and network television.

One of the biggest decision made by Creed taylor was to now reorganize his role and position with A&M.. He then crafted a deal where A&M would now be the prime Distributor of CTI Records products.

Taylor went to work immediate putting a plan of action in place by signing big name jazz artists who had recently left other mainstream labels and was being reinvented by Taylor in his new label image of , Young sounds of electronic instruments, and popular compositions recently heard on the Radio in all genres; Soul, POP, Latin and Middle of the Road audiences. `Officially beginning in 1969/70.. you saw Taylor create some new jazz classics with older jazz artists,Quincy Jones,Nat Adderley, Stanley Turrentine, Freddie Hubbard, Hubert Laws, Milt “Bags” Jackson, George Benson, Deodato, Joe Farrell were scattered around the charts in early 70s radio and concerts. Just like Blue Note records grew its roster of players by recording early and often with stars and their friends that they brought with them regardless of stature or standing.

Taylor, like Blue Note records used only the best in Recording and Engineering by bringing in Rudy Van Gelder on most of their choice records. The third leg of this trifecta is vivid grahics & museum quality photography. Some CTI favorites of mine are, Follow Your Heart Joe Farrell, African Cookbook Randy Weston, Straight Life Freddie Hubbard, Also , Creed spun-off even edgyier artists which a had a R&B/SOUL slant to it . KUDU RECORDS, being its answer to contemporary jazz being played with the technology of that day in Keyboards, recording, sounds, adding different rhythms and grooves . Wild Horses Rock STeady Johnny Hammond Smith, Grover Washington, Little Esther Phillips, Eric Gale, and Hank Crawford all Funky and greasy but smooth in the Pocket groove makers playing on Pop record and soul stations all over the country, many Grammy nominations and high record sales from artist who never imagine the type record sales they were now getting after signing with CTI Records.

In a sidenote many years later, Mr Creed Taylor scored again with a veteran artist ,some thought would never compromise on style and approach. He even convinced Nina Simone to record a very successful album Baltimore”. The title track was a Reggae Beat with Strings, written by Randy Newman and arranged by Dave Matthews in my opinion, one of the very best ever by CTI.

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