Jazz Review | Stanley Turrentine

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The Blue Note Stanley Turrentine Quintet/Sextet Studio Sessions
Mosaic MD5-212
Stanley Turrentine’s career spanned several decades and his music bridged the gap among several styles. He began his career playing in rhythm & blues bands, including a stint with Ray Charles. Later he replaced John Coltrane in Earl Bostic’s band before joining Max Roach in 1959. In the 60’s he began to make a name for himself through recordings with Jimmy Smith and Shirley Scott. His sound, out of Don Byas and Coleman Hawkins, fit well in the earthy feel of organ/tenor combinations. In 1965, his recordings with larger ensemble groups, which included the hit, SUGAR, established him with the larger, more pop oriented audience.

These recordings catch Stanley in the more traditional mainstream jazz context of the 1960’s. He is in the company of several trumpet players, including his brother, Tommy Turrentine, and two popular trumpeters of the era, Blue Mitchell and Lee Morgan, plus Thad Jones on fluglehorn. The rhythm sections are superb. At different times, they include Horace Parlan, Sonny Clark, Herbie Hancock, McCoy Tyner and Cedar Walton on piano. The bassists are George Tucker, Butch Warren, Earl May, Bob Cranshaw, and Buster Williams, with drummers Al Harewood, Ben Dixon, Otis Candy Finch, Elvin Jones, and Mickey Roker. In certain settings add guitarist Kenny Burrell, organist Shirley Scott, trombonists Tommy McIntosh or Curtis Fuller and baritone saxophonist Charles Davis.

A moment to say something about Mosiac Records. Box sets are all the thing in the world of jazz reissues. Most companies reissue what was popular. Some companies, Mosaic included, reissue what was, and is, good. It gives the listener the pleasure of hearing something he or she might not be aware of.

Stanley demonstrates that he was a jazzman of the first order, equally at home in these straight ahead settings as he was playing the blues, funk, soul or whatever. And Mr. T. was among the coolest of men. I recall that in the several times I had the pleasure to interview him, my first question, before the mikes were turned on, was "Where did you get those clothes?"

Everybody Come on Out

Salt Song

Soulful Saxophone

Up at Minton's

Ballads

Complete Blue Hour Sessions

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	jazz review \| stanley turrentine
	impressions categories
	more reviews

	The Blue Note Stanley Turrentine Quintet/Sextet Studio Sessions Mosaic MD5-212 Stanley Turrentine’s career spanned several decades and his music bridged the gap among several styles. He began his career playing in rhythm & blues bands, including a stint with Ray Charles. Later he replaced John Coltrane in Earl Bostic’s band before joining Max Roach in 1959. In the 60’s he began to make a name for himself through recordings with Jimmy Smith and Shirley Scott. His sound, out of Don Byas and Coleman Hawkins, fit well in the earthy feel of organ/tenor combinations. In 1965, his recordings with larger ensemble groups, which included the hit, SUGAR, established him with the larger, more pop oriented audience. These recordings catch Stanley in the more traditional mainstream jazz context of the 1960’s. He is in the company of several trumpet players, including his brother, Tommy Turrentine, and two popular trumpeters of the era, Blue Mitchell and Lee Morgan, plus Thad Jones on fluglehorn. The rhythm sections are superb. At different times, they include Horace Parlan, Sonny Clark, Herbie Hancock, McCoy Tyner and Cedar Walton on piano. The bassists are George Tucker, Butch Warren, Earl May, Bob Cranshaw, and Buster Williams, with drummers Al Harewood, Ben Dixon, Otis Candy Finch, Elvin Jones, and Mickey Roker. In certain settings add guitarist Kenny Burrell, organist Shirley Scott, trombonists Tommy McIntosh or Curtis Fuller and baritone saxophonist Charles Davis. A moment to say something about Mosiac Records. Box sets are all the thing in the world of jazz reissues. Most companies reissue what was popular. Some companies, Mosaic included, reissue what was, and is, good. It gives the listener the pleasure of hearing something he or she might not be aware of. Stanley demonstrates that he was a jazzman of the first order, equally at home in these straight ahead settings as he was playing the blues, funk, soul or whatever. And Mr. T. was among the coolest of men. I recall that in the several times I had the pleasure to interview him, my first question, before the mikes were turned on, was "Where did you get those clothes?"	Everybody Come on Out Salt Song Soulful Saxophone Up at Minton's Ballads Complete Blue Hour Sessions