The two-disc CTI: The Master Collection is an interestingly programmed disc compiled by UK DJ Peter Youn, host of Peter Young's Soul Cellar. Disc 1 opens with Deodato's "Also Sprach Zarathustra", which is better than I remembered it, but still sounds like the track that led the way to the most self-indulgent forms of fusion. Stanley Turrentine's "Don't Mess With Mister 'T'" is a compelling urban blues track that demonstrates just why Turrentine was successful at maintaining some artistic integrity even as he was laying the groundwork for later R&B/smooth jazz artists. Milt Jackson's "Sunflower" is the solid title track from an equally solid album. Not only does Bags lay down a fine solo, but so does Freddie Hubbard, then at one of his peaks. "Blues Selah" from organist Johnny Hammond's Breakout album features fine work from Eric Gale, Billy Cobham, and Grover Washington, Jr. George Benson's "My Latin Brother" is from his Bad Benson album. It's a nice track, but I prefer his version of "California Dreamin'" from White Rabbit that is featured on Disc 2. Hank Crawford's "Mr. Blues" is just that-a straightforward swinging jazz blues jam that makes you wonder why the album it comes from, Wildflower, hasn't been reissued. Astrud Gilberto's "Ponteio" is typically lovely, while Stanley Turrentine's "Gibraltar" screams with funky soul.

I really prefer Disc 2, which gets off to a nice Latin-influenced start with Ray Barretto's "La Cuna" (from the album of the same name) and then launches smoothly into Benson's "California Dreamin'". Skylark is one of the best albums alto saxophonist Paul Desmond ever cut. Backed by the excellent combo of guitarist Gabor Szabo and Jack DeJohnette, Desmond found the perfect showcase for his light, airy sound. "Take Ten", featured here, is a takeoff on Desmond's "Take Five", a big hit for the Dave Brubeck Quartet. Desmond solos just as convincingly and makes you wish he had recorded more albums with this lineup. "Funk In Deep Freeze" is an odd title for the Chet Baker track (from the album She Was Too Good to Me) featured here since it is neither funky nor does it do anything but swing from start to finish. Don Sebesky's arrangement is pretty and restrained here, and Baker gets good backing from Ron Carter, Jack DeJohnette, Bob James, and others (Hubert Laws has a good solo outing as well). Esther Phillips' "Home is Where the Hatred Is" seems informed by the same aesthetic as the work of Isaac Hayes and Curtis Mayfield, with excellent horn arrangements by James Brown sidekick Pee Wee Ellis. Freddie Hubbard's "Sky Dive" from the album of the same name is gorgeous and shows off the trumpeter at his best (Red Clay, Hubbard's best release for CTI is due for rerelease in June). Deodato turns in a live version of anarchist rock-jazzers Steely Dan's "Do It Again". Another Milt Jackson gem from Sunflower, "People Make the World Go Round" and Patti Austin's "We're In Love" lead to the disc's concluding tracks, Paul Desmond's take on Jobim's classic "Wave" and Lalo Schifrin's version of the theme from "Jaws".

While I found some of the selections curious (as well as some of the tracks not featured) The Master Collection does provide a good overview of the different sound CTI was all about, and should help dispel the myth that CTI was responsible for the downfall of fusion. CTI featured everything from straight-ahead blues jams to modal free jazz influenced workouts to orchestral arrangements to fusion. The key to the label's output was sophistication and respect for the music, and that comes through clearly on nearly every track.