"Giant Box" is a double album by American arranger/conductor and composer Don Sebesky featuring performances recorded in 1973 and released on the CTI label. The Allmusic review states "This may have been Creed Taylor's most ambitious single project… Thankfully the musicmaking lives up to the billing. Everything that gave CTI its distinctive sound and identity is here – the classical adaptations, elaborate orchestrations and structuring, pop-tune covers, plenty of room for the star soloists to stretch out in a combo format… Giant Box still ranks as a sensational coup and a reminder of how potent CTI was at its peak".

David Matthews is a keyboardist, pianist, and arranger. Matthews has composed television soundtracks as well as albums with the Manhattan Jazz Orchestra. In 1970, he began working as both an arranger and bandleader for James Brown. Matthews has worked with many musicians, including Bonnie Raitt, Buddy Rich, Idris Muhammad, and the Starland Vocal Band. He was staff arranger for Creed Taylor's CTI Records label in the mid-1970s, working on albums for artists such as George Benson, Esther Phillips, Grover Washington Jr., Hank Crawford, and Idris Muhammad. "Dune" is based on the Hugo award-winning novel, Dune, by Frank Herbert. Matthews has already had plenty of CTI arranging experience by the time of this set – but he really moves into some unusual space with the record – open, evocative tunes that really live up to their inspiration, but also have some of Dave's funky touches too. Matthews gets help from an all-star lineup of CTI players – including Grover Washington on reeds and Eric Gale on guitar.

"Blue Moses" is an album by American jazz pianist and composer Randy Weston featuring performances recorded in 1972 and released on the CTI label. Like already reissued albums, "Blue Moses" has not previously been released on CD in the US or Europe.

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz.