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CD |
Kérjen
árajánlatot! |
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| 1. | Let It Go
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| 2. | Just in Time
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| 3. | On a Clear Day (You Can See Forever)
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| 4. | Deep Purple
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| 5. | T'ain't What You Do (It's the Way That Cha Do It)
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| 6. | Rapid Shave
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| 7. | Good Lookin' Out
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| 8. | Cute
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Jazz
Stanley Turrentine - Sax (Tenor)
Bob Cranshaw - Bass
Mack Simpkins - Drums
Ron Carter - Bass
Shirley Scott - Organ
* Alan Nahigian - Photography
* Bob Belden - Compilation Producer
* Chuck Stewart - Photography
* Isabelle Wong - Graphic Design
* Jim Macnie - Liner Notes
This is one of many GRP compilations in the series with the not-so-self-effacing designation of Priceless Jazz Collection. It brings together selections from two albums made by Stanley Turrentine and Shirley Scott in the 1960s: Let It Go, made at the Rudy Van Gelder studio in Englewood Cliffs, NJ, and Queen of the Organ, a live 1964 performance in Newark, NJ. During those days, these two leading exponents of soul-based jazz were husband and wife, often recording under each other's names. In doing so, they left a legacy of outstanding, funky, mixed R&B-jazz performances, ably represented by the tracks included on this CD. Each cut follows pretty much the same format. Irrespective of the tempo (and most of the tunes are medium to uptempo arrangements), Turrentine opens with the melody, with Scott playing over it, but behind him. Turrentine then segues into a bit of improvisation on the main theme with Scott continuing to do her organ thing behind him, still staying away from the melody. Nowhere is this approach more evident and effective than on "Deep Purple," recalling another famous tenor sax and organ duet of this classic tune with Ben Webster and Groove Holmes doing the honors. On these small group sessions, there is little opportunity for any of the other participants to get solo time; the tenor and organ dominate. Ron Carter's bass is almost invisible. The exception is allowed for drummers' Otis "Candy"Finch and Mack Simpkins with their active participation on "Just in Time" and "Cute," respectively. "Rapid Shave" and "Cute" are the two vehicles which allow Turrentine and Scott to do their most adventurous stretching, with some very significant soloing from Scott on both. "Cute" moves toward a boppish mode, away from the soul-laced renderings which characterize the rest of the material. This is a rewarding compilation from a pair of outstanding jazz musicians and is recommended.
---Dave Nathan, All Music Guide
Stanley Turrentine
Active Decades: '60s, '70s, '80s and '90s
Born: Apr 05, 1934 in Pittsburgh, PA
Died: Sep 12, 2000 in New York, NY
Genre: Jazz
Styles: Fusion, Hard Bop, Soul-Jazz
A legend of the tenor saxophone, Stanley Turrentine was renowned for his distinctively thick, rippling tone, an earthy grounding in the blues, and his ability to work a groove with soul and imagination. Turrentine recorded in a wide variety of settings, but was best-known for his Blue Note soul-jazz jams of the '60s, and also underwent a popular fusion makeover in the early '70s. Born in Pittsburgh on April 5, 1934, Turrentine began his career playing with various blues and R&B bands, with a strong influence from Illinois Jacquet. He played in Lowell Fulson's band with Ray Charles from 1950-1951, and in 1953, he replaced John Coltrane in Earl Bostic's early R&Bjazz band. After a mid-'50s stint in the military, Turrentine joined Max Roach's band and subsequently met organist Shirley Scott, whom he married in 1960 and would record with frequently.
Upon moving to Philadelphia, Turrentine struck up a chemistry with another organist, Jimmy Smith, appearing on Smith's 1960 classics Back at the Chicken Shack and Midnight Special, among others. Also in 1960, Turrentine began recording as a leader for Blue Note, concentrating chiefly on small-group soul-jazz on classics like That's Where It's At, but also working with the Three Sounds (on 1961's Blue Hour) and experimenting with larger ensemble settings in the mid-'60s. As the '70s dawned, Turrentine and Scott divorced and Turrentine became a popular linchpin of Creed Taylor's new, fusion-oriented CTI label; he recorded five albums, highlighted by Sugar, Salt Song, and Don't Mess With Mister T. While those commercially accessible efforts were artistically rewarding as well, critical opinion wasn't as kind to his late-'70s work for Fantasy; still, Turrentine continued to record prolifically, and returned to his trademark soul-jazz in the '80s and '90s. Turrentine passed away on September 12, 2000, following a massive stroke.
---Steve Huey, All Music Guide |
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