Stanley Turrentine - If I Could (1993)

This session from tenor-saxophonist Stanley Turrentine often sounds like a CTI recording from the 1970s although Creed Taylor had nothing to do with it. Backed by Don Sebesky's arrangements and assisted by a strong rhythm section and Hubert Laws's flute, Turrentine's solos are stronger than the melodies and he generally overcomes the unimaginative use of strings on the ballads. Mr. T. is in fine form and he makes the most of each selection (particularly on the two blues "June Bug" and "A Luta Continua") while Laws comes across much more creative than he does on most of his own recordings. Recommended. ~ by Scott Yanow, AMG. 

"If I Could" is a 1993 album by Stanley Turrentine that is a strong and satisfying listen, though some critics note that the arrangements, particularly the strings, can be unimaginative. It is recommended for fans of the saxophonist who want to explore his work beyond his earlier Blue Note period. The album is described as having a 1970s CTI sound and features Turrentine's solos as a highlight. AI Overview. 

MusicMasters Jazz, 01612-65103-2, 1993
Recorded 10th-12th May, 1983 (#1,2,4,5,7) at Sound On Sound Recording Studios, New York City
13th May, 1993 (#3,6,8) at National Recording Studio, New York City 

Musicians:
Stanley Turrentine - Tenor Sax
Hubert Laws - Flute, Piccolo
Sir Roland Hanna - Piano
Ron Carter - Bass
Grady Tate - Drums
Gloria Agostini - Harp
Vincent Leroy Evans - Kalimba (#7)
Steve Kroon - Percussion
Matthew Raimondi - Strings, Concert Master
Don Sebesky - Arranger, Conductor 

Tracks:
1. June Bug {Tommy Turrentine} (7:56)
2. Caravan {Duke Ellington, Juan Tizol, Irving Mills} (15:23)
3. I Remember Bill {Don Sebesky} (6:19)
4. The Avenue {Charles Fambrough} (4:04)
5. Marvin's Song {Tommy Turrentine} (6:15)
6. Maybe September {Percy Faith, Jay Livingston, Ray Evans} (3:35)
7. A Luta Continua {Vincent Leroy Evans} (6:29)
8. If I Could {Pat Metheny} (4:46) 

Total Time: 54:51 

Credits:
Producer, Director, Liner Notes - Don Sebesky
Engineer - Jimmy Douglas
Cover Photo - Rex Miller
Design - Kristen Stephen

LINK

The Avenue

Stanley Turrentine with Milt Jackson - Cherry (1972) [+ Bonus]

This 1972 CTI date by Stanley Turrentine was his third for the label, and was produced by Creed Taylor with Rudy van Gelder at the board. Shockingly, Don Sebesky was not called in to arrange anything here. The band chosen to back up Turrentine's edgy, soulful tenor is a fine and diverse one, especially in the heyday of the fusion years: Milt Jackson on vibes, drummer Billy Cobham, pianist (electric of course) Bob James, Ron Carter on bass, and guitarist Cornell Dupree. 

The opener is Lee Morgan's "Speedball," played as a near straight-ahead hard bop barnburner, with a killer little vamp in the melody that is accented and filled by both Bags and James alternating bars. This is followed by a fine is not exceptional read of Johnny Mercer's "I'll Remember You," though Jackson's vibe solo that opens the tune and offers the lead into the melody is quite moving. Jackson's own "The Rev's" is a bluesed-out strut, with Turrentine, James, and Bags holding through the lead riffs before Turrentine digs deep into his soulful bag for a brilliant solo that runs over the bluesology of the old masters -- Dexter Gordon and Ben Webster most notably. But it is the last half of the album that holds the real beauty, with the title track framed by two Weldon Irvine Jr. classics, "Sister Sanctified" and "Introspective" as the closer. Irvine arranged his own tunes, and they are far more wondrous and strange than anything in the CTI catalog. "Sister Sanctified," a deep gospel with repetitive choruses and assertive lead lines, has James playing a gospel piano more reminiscent of Abdullah Ibrahim than himself. Cobham shoves the beat to the margin, double- and triple-timing in places while never leaving the pocket of the groove. Turrentine's solo, especially in the bridge, is phenomenal, guttural, and nearly squalling. "Introspective" is a loping post-bop blues. The long, intricate melody lines are perfectly suited to the complex sense of lyricism that is Turrentine's strength. The more general figures and accents are picked up by Jackson, and Cobham slips through and around the chances in a Latin-styled dance to hold the middle and bring in the blues feel. It's phenomenal and sends this session off on a high note. Recommended. ~ Thom Jurek, All Music Guide. 

CTI Records, CTI 6017, 1972
CBS Records, ZK 40936, 1988 

Recorded 17th, 18th & 24th May, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Stanley Turrentine - Tenor Saxophone
Milt Jackson - Vibraphone
Bob James - Piano, Electric Piano
Cornell Dupree - Guitar
Ron Carter - Bass
Billy Cobham - Drums

Tracks:
1. Speedball {Lee Morgan} (6:40)
2. I Remember You {Johnny Mercer, Victor Schertzinger} (5:10)
3. The Revs {Milt Jackson} (7:46)
4. Sister Sanctified {Weldon Irvine Jr.} (6:04)
5.. Cherry {Ray Gilbert, Don Redman} (5:10)
6. Introspective {Weldon Irvine Jr.} (7:00)
7. The More I See You {Harry Warren, Mack Gordon} (7:58) [Bonus Track] 

Total Time: 45:52 

Credits:
Producer - Creed Taylor
Reissue Producer, Liner Notes - Didier C. Deutsch
Recording Engineer - Rudy van Gelder
Mastering - Tim Geelan
Arranger - Weldon Irvine Jr. (#4,6)
Design [Album] - Bob Ciano
Photography [Cover] - Pete Turner

DR14

Sister Sanctified

Stanley Turrentine - Pieces Of Dreams (1974) [vinyl>re-rip]

“Pieces of Dreams” is an album by jazz saxophonist Stanley Turrentine, his first recorded for the Fantasy label after associations with Blue Note Records and CTI. The title track is certainly the tenorist’s standout on this LP, a classic for its time composed by Michel LeGrand, when jazz was entering a commercial period to counteract the onslaught of Rock/Pop. Turrentine's tenor is combined with various electric keyboards, guitarists, a few background vocalists, and strings, which are all arranged by Gene Page, who with Billy Page pen a couple of compositions. In many ways this album is very enjoyable despite its smooth jazz sound. Stanley still showcases his ability to handle his horn magnificently within some brilliantly arranged modern tunes. Certainly worth re-investigating! 

Fantasy Records, F-9465, 1974
Recorded 30th & 31st May, 1974 at Fantasy Studios, Berkeley, California 

Musicians:
Stanley Turrentine - Tenor Saxophone
Gene Page, John Miller, Sonny Burke - Keyboards
David T. Walker, Dean Parks, Ray Parker, Jr. - Guitar
Ron Brown - Bass
Ed Greene - Drums
Ed Moore - Drums (#A1)
Gary Coleman - Percussion
Joe Clayton - Congas
Carolyn Willis, Edna Wright, Myrna Matthews - Backing Vocals
Arranger, Conductor - Gene Page 

Tracks:
A1. Pieces Of Dreams {Alan Bergman, Marilyn Bergman, Michel LeGrand} (4:36)
A2. I Know It's You {Leon Ware} (4:08)
A3. Deep In Love {Billy Page, Gene Page {Arr.}, Johannes Brahms} (4:27)
B1. Midnight And You {Billy Page, Gene Page} (4:00)
B2. Evil {Stevie Wonder} (4:36)
B3. Blanket On The Beach {Billy Page, Gene Page} (6:23)
B4. I'm In Love {Bobby Womack} (4:02) 

Credits:
Producer - Billy Page, Gene Page, Stanley Turrentine
Executive Producer - Ron Granger
Production Coordinator - Olivia Page
Recording Engineer - Jim Stern
Additional Recording and Remix Engineer - Stan Ross
Art Direction - Phil Carroll
Art Direction, Liner Photography - Tony Lane
Cover Art - Jaymie Putnam

Stanley Turrentine - Nightwings (1977) [vinyl>flac]

Review by Dave Gelly, Jazz Journal, August 1978:
There are those who would be very sniffy and po-faced about this record, but I am not among them. It consists of Turrentine's tenor playing simple, but not puerile, melody over a highly orchestrated backing, with occasional choruses and half-choruses by the string section. It's a thing he has done many times before and always brings off to perfection.
To say that this is ideal music to play in the car or while doing the washing-up is by no means to condemn it. It is light music, certainly, but there is a crying need for good, workmanlike, elegant light music and Turrentine is a master of his craft. He never cheats, never goes in for cheap rhetoric or phoney dramatics, and the occasional phrase will catch your ear and charm you with its simplicity and Tightness.
Henry James put it as well as anyone, in his essay on the Wallace Collection. Speaking of Watteau he says: 'His clear good faith marks the distance, in art. between the light and the trivial; for the light is but a branch of the serious'. The remark applies exactly to Turrentine's work here. Faced with the usual late-night radio drivel, we can discern with depressing clarity the extent of that distance.

1. Papa T
2. If You Don't Believe
3. Joao
4. Birdland
5. There's Music In The Air
6. Nightwings
7. Don't Give Up On Us

Stanley Turrentine (ts) with orchestra arranged and conducted by Claus Ogerman.
New York City. June & July 1977
(Fantasy F-9534)

Stanley Turrentine - The Baddest Turrentine (1974)

A 4-track "best of compilation" from Stanley Turrentine’s hit years at CTI! If you know the man's tone, you know that he found a perfect home at CTI - where arrangements by the likes of Bob James or Eumir Deodato provided Stanley with a perfect foil for his warm exploratory blowing. The set list features Stan's great funky reading of Marvin Gaye's "Don’t Mess With Mr T", plus his classic reading of "Sugar" and the tracks "Speedball" and "Salt Song".

CTI Records, CTI 6048 S1, 1974

Recorded November, 1970 (#A1); July 1971 (#A2); May 1972 (#B1)

& June, 1973 (#B2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Stanley Turrentine, Randy Brecker, Joe Farrell, Pepper Adams, Bob James, Eric Gale, Ron Carter, Idris Muhammad, Milt Jackson, Cornell Dupree, Billy Cobham, Eumir Deodato, Freddie Hubbard, Lonnie Smith, George Benson ...

Tracks:

A1. Sugar {Stanley Turrentine} (10:03)

Released on: Sugar [CTI 6005]

A2. Salt Song {Milton Nascimento} (7:12)

Released on: Salt Song [CTI 6010]

B1. Speedball {Lee Morgan} (6:37)

Released on: Cherry [CTI 6017]

B2. Don't Mess With Mister T. {Marvin Gaye} (9:49)

Released on: Don't Mess With Mister T. [CTI 6030]

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Artwork - Bob Ciano

Photography - Alen MacWeeney

Astrud Gilberto - Gilberto with Stanley Turrentine (1971)

An Indie Darling Before Her Time:
Quite Possibly The One Gilberto Album You Must Own

Astrud Gilberto With Stanley Turrentine is such a nice surprise; an overlooked "fan favorite" that's worth discovering. Released in 1971, it came nearly a decade after Gilberto's "Girl From Ipanema" heyday. But several factors make this album truly unique. First, it's the only album Gilberto made for the CTI label, after a long relationship with Verve. Secondly, on several tracks she's paired with the great saxophonist and then-labelmate Stanley Turrentine (why not?!?). And finally, the album was produced and arranged by schlock-jazz mastermind Deodato.

Put it all together and you have a fun, dreamy record that sounds oddly contemporary. Here, Deodato adds a pop flash that's lacking on Gilberto's more stately Verve material. This combination of cool reticence and clever, sometimes cloying melody has since become an indie template. And for good reason. "Wanting Things" and "Where There's a Heartache", the pair of Bacharach/David tunes which bookend the album, are airy, almost impressionistic swatches of atmosphere. "Brazilian Tapestry" is the album's high point, with Deodato's melodramatic flute/viola arrangement segueing into an effortless sigh of a chorus that finds Gilberto completely in her element. "Zazueira" is another uptempo delight that's driven along by Deodato's electric piano and Ron Carter's bass; "soulful" isn't a word that's often associated with Gilberto, but it applies here. Turrentine's energetic blasts add to the fun. The minor-key "Solo el fin (For All We Know)", on the other hand, finds Gilberto and her accompaniment in a suitably resigned, reflective mood. Gilberto's singing is markedly stronger than on her '60s material, though she'll never be mistaken for Billie Holliday.

Apparently, Gilberto wasn't so impressed with the material or arrangements; she walked out of the sessions before ...With Stanley Turrentine was completed. That explains the two instrumentals, a muzak version of Stephen Stills' "To a Flame" that not even Turrentine can enliven, and the slightly groovy "Vera Cruz", on which Deodato's piano takes Gilberto's place. And it's easy to understand why Gilberto was less than thrilled with the helplessly slight, Deodato-penned "Traveling Light" or a Spanish-language troll through the theme from Love Story. Of the three bonus tracks, only the lovely, playful, Deodato-less rendition of Harry Nilsson's "The Puppy Song" is a keeper.

As for this reissue, the remastered sound is crisp but not extremely warm, which suits the material. Original engineering by the legendary Rudy van Gelder can't have hurt. Despite that incongruity, it's sweet, slightly fey fare for those who prefer their music in pastels. ~ Extract by John Bergstrom, Popmatters.com.

CTI Records, CTI 6008, 1971

Sony Music Inc., 5127892, 2003

Recorded 13^th January, 1^st & 4^th February, 19^th March and 6^th April 1971

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Astrud Gilberto - Vocals

Eumir Deodato - Electric Piano

Stanley Turrentine - Tenor Saxophone (#2,5,6,8)

Toots Thielemans - Harmonica (#6,11)

Gene Bertoncini - Guitar (#1,3,4,7,10,12)

Sivuca - Guitar (#2,5,6,8)

Sam Brown - Electric Guitar (#1,2,5,6,8,12,13)

Bob Mann - Electric Guitar (#3,4,7,9,12)

Ron Carter - Bass (#1-3,5-8,11)

Russell George - Bass (#4,9-13)

João Palma - Drums (#1,3,7,12)

Dom Um Romão - Drums (#2,5,11)

Dennis Seiwell - Drums (#4,9,10,13)

Airto Moreira - Percussion (#2,5,11)

Hubert Laws, George Marge, Romeo Penque,
Jerome Richardson - Flutes (#2,5,7,8,10)

Paul Gershman, Emanuel Green, Julie Held, Harry Katzman,
Joe Malin, Gene Orloff - Violin (#1-5,7-10)

Harold Coletta - Viola (#1,2,4,7-10)

George Ricci - Cello (#1-5,7-10)

Tracks:

01. Wanting Things {Burt Bacharach, Hal David} (2:41)

02. Brazilian Tapestry {Mulher Rendeira} (5:16)

03. To A Flame [Instrumental] {Stephen Stills} (3:22)

04. Solo El Fin [For All We Know] {Robb Wilson, Arthur James, Kathleen Freed} (3:18)

05. Zazueira {Jorge Ben} (3:47)

06. Ponteio {Edu Lobo, Capinan} (3:43)

07. Traveling Light {Eumir Deodato, Martha Everett} (2:31)

08. Vera Cruz [Instrumental] {Milton Nascimento, Fernando Brant, Gene Lees} (5:12)

09. Historia De Amor [Love Story] {Francis Lai, Carl Sigman, Alfonso Alpin} (3:35)

10. When There's A Heartache [There Must Be A Heart] {Burt Bacharach, Hal David} (3:11)

11. Just Be You {Astrud Gilberto} (2:29) *

12. Puppy Song, The {Harry Nilsson} (3:21) *

13. Polytechnical High {Eumir Deodato, Martha Everett} (2:48) *

* Bonus Tracks [Previously Unreleased]

Credits:

Producer - Creed Taylor

Recording & Mastering Engineer – Rudy van Gelder

Arranger, Conductor - Eumir Deodato

Design [Album] - Bob Ciano

Photography [Cover] - Peter Turner

Photography [Liner] - Price Givens

Shirley Scott - Soul Song (1969) [vinyl.flac,24b/48k]

A nice late 60s effort by Shirley - and one that's been pretty hard to find over the years! Soul Song actually has a bit more of a funk groove than earlier work, and a little bit more of a soul jazz sound than some of her Prestige albums. The record features Eric Gale playing some nice guitar, plus Stanley Turrentine blowing tenor on a number of cuts, and Shirley on organ, and even singing on one track. The tracks are a bit longer than usual, too - and titles include a cover of "Think", plus "Soul Song", "Mr. Businessman", "When A Man Loves A Woman", and "Like A Lover". ~ Dusty Groove, Inc.

Atlantic Records, SD 1515, 1969

Recorded 9^th (#B2) & 10^th (#A2) September at Atlantic Studios, New York City;

6^th (#A3,B1) & 7^th (#A1,B3) November, 1968 at RCA Studios, New York City

Musicians:

Shirley Scott - Organ, Vocals (#B3)

Stanley Turrentine - Tenor Saxophone (#A1-B2)

Eric Gale - Guitar (#A1,A2,B2,B3)

Bob Cranshaw - Fender Bass (#A3,B1)

Roland Martinez - Fender Bass (#A2,B2)

Bernard Purdie - Drums (#A2,B2)

Ray Lucas - Drums (#A3,B1)

Specs Powell - Drums (#A1,B3)

Track Listing:

A1. Think {Lowman Pauling} (7:57)

A2. When A Man Loves A Woman {Calvin Lewis, Andrew Wright} (6:51)

A3. Mr. Businessman {Ray Stevens} (3:08)

B1. Blowin' In The Wind {Bob Dylan} (6:17)

B2. Soul Song {Shirley Scott} (5:24)

B3. Like A Lover {Alan & M. Bergman, Danilo Caymmi, Nelson Motta} (4:00)

Credits:

Producer - Joel Dorn

Recording Engineers - Adrian Barber, Paul Goodman

Cover Illustration & Design - Stanislaw Zagorski

Liner Notes - Bernard Drayton

Shirley Scott - Now's The Time (1967) [vinyl>flac]

Now's the Time is an album by organist Shirley Scott compiling several tracks recorded between 1958 and 1964 and released on the Prestige label in 1967. "This is early Scott, several takes from different sessions for this Prestige release", Allmusic.

Yes once upon a time jazz was a man's world but with gals like Shirley Scott around some of the cats are beginning to get inferiority complexes. Like isn't a woman’s place in the kitchen! Not when she happens to be Shirley Scott. Her latest cooking is done on a Hammond, not a stove. ~ Extract from Liner Notes by Mark Gardner.

Prestige Records, PR 7440, 1967

Recorded 27th May, 1958 (#A3); 23rd October, 1958 (#B2-B4);
23rd June, 1960 (#B1); 22nd August, 1961 (#A2)
& 31st March, 1964 (#A1) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

Joe Newman - Trumpet (#A2)

Stanley Turrentine - Tenor Saxophone (#A1)

Oliver Nelson - Tenor Saxophone (#A2)

Lem Winchester - Vibraphone (#B1)

Bob Cranshaw - Bass (#A1)

George Tucker - Bass (#A2)

George Duvivier - Bass (#A3-B4)

Otis Finch - Drums (#A1)

Roy Brooks - Drums (#A2)

Arthur Edgehill - Drums (#A3-B4)

Track Listing:

A1. As It Was {Milt Jackson, Shirley Scott} (5:24)

A2. How Sweet {Shirley Scott} (7:22)

A3. Ebb Tide {Robert Maxwell, Carl Sigman} (4:11)

B1. Now's The Time {Charlie Parker} (4:26)

B2. That's Where It's At {Shirley Scott} (3:21)

B3. Cafe Style {Shirley Scott} (4:27)

B4. Out Of This World {Harold Arlen, Johnny Mercer} (4:27)

Credits:

Producer - Ozzie Cadena (#A1)

Producer - Bob Weinstock (#A3)

Producer - Esmond Edwards (#A2,B1-B4)

Recording Engineer - Rudy van Gelder

Liner Notes - Mark Gardner (June 1967)

David 'Fathead' Newman - Fire!

I believe that this is the album pmac was referring to in his comment to the previous post; it is available cheap at Collectables so this is an mp3 copy.

"For this excellent all-around date, David "Fathead" Newman and a fine rhythm section (pianist Kirk
Lightsey, vibraphonist Steve Nelson, bassist David Williams and drummer Marvin "Smitty" Smith) are joined by tenor saxophonist Stanley Turrentine on "Wide Open Spaces" (a tune that years earlier
Newman had recorded with fellow tenor James Clay), altoist Hank Crawford on "Lonely Avenue" and both Turrentine and Crawford on two other songs. In addition, Newman takes "Filthy McNasty" as a flute feature and is showcased on the opening "Old Devil Moon." An enjoyable set of soulful, straight-ahead jazz." AMG

A really fine live set, must have been some hot stuff to see.