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Blue Note Stanley Turrentine Qt./Sxt. Sessions (#212)Mosaic Records Limited Edition Box Set
"Stanley Turrentine had a sound. Until his death in 2000, he was the master of a tenor saxophone tone that demanded attention from the first note. A throwback to the brawny tenor stylists of the swing era - Ben Webster, Illinois Jacquet, Don Byas - as well as the funky R & B players of the late '40s and '50s. Turrentine took no prisoners, no matter the tempo." - Steve Futterman, Washington Post
This set is on backorder and is expected to be available in late 2015
Limited Edition: 5000 copies
5 CDs - $80.00
The six Blue Note dates in this Mosaic collection are in a class by themselves; some of the best albums of pure hard bop in the selection and treatment of the material and in instrumentation with Stanley Turrentine sharing the front line with a trumpet player or trombonist equal to him in talent. We're delighted to offer these excellent but overlooked hard bop sessions on one jazz collection.
The collection includes the following albums:
• Comin' Your Way from 1961 with Stanley Turrentine's brother Tommy on trumpet and the tight, seasoned unit of Horace Parlan, George Tucker and Al Harewood. Given a selection number and listed in catalogs, it was not released at the time.
• Jubilee Shout from 1962 with Tommy Turrentine, Sonny Clark, Kenny Burrell, Butch Warren and Al Harewood. The set introduces two previously unissued alternate takes.
• A Chip Off The Old Block from 1963, a tribute to the Basie band with Blue Mitchell. Shirley Scott, Earl May and Al Harewood as well as two previously unissued performances.
• In Memory Of from 1964 with Blue Mitchell, Curtis Fuller, Herbie Hancock, Bob Cranshaw, Candy Finch and, on several selections, Mickey Roker joining in on congas. On CD for the first time in this collection.
• Mr. Natural from 1964 with an especially powerful group: Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw, Elvin Jones on drums and Ray Barretto on congas. On CD for the first time.
• Another Story from 1969 with Thad Jones on flugelhorn, Cedar Walton on piano, Buster Williams on bass and Mickey Roker on drums. On CD for the first time in this clessic collection of jazz albums.
You hear the word "soulful" a lot when people talk about Stanley Turrentine, and what they really mean is the emotion he expressed through his confident control of every note. Stanley Turrentine often told the story of being drilled by his musician Dad. He would insist that the young Stanley stand in a corner and play one note endlessly. "Did you hear it?" his dad asked him when he was done. "Dad, I'm standing right here in the corner," Turrentine replied. Years later, his best albums demonstrate that he understood the lesson - that there are all kinds of sounds you can make depending on your attack, breath control, bending, and other manipulations.
At a time when musicians began pursuing an astonishing array of disciplines and personal quests, when many regarded "jazz" and "revolution" as interchangeable terms, Stanley Turrentine was at the forefront of a group of jazz musicians who believed in the best of melody and song; in extending and interpreting traditions, not in detonating them. While his style and ideas were contemporary, his big sound allied him more with some of the best grand masters on the instrument as this Mosaic collection demonstartes.
Read More About Stanley Turrentine:
Track Listing, Personnel & Recording Dates »
"The six albums collected herein, finds Turrentine working in settings that epitomize Blue Note's norm of two or three horns in the front line, straight-ahead grooves, and a focus on original material and the complementary voices of the featured musicians." - Bob Blumenthal, liner notes
- Audio Quality
- Sample Session Notes
In the age of microsizing, every Mosaic Records Box Set booklet is still 11 x 11 inches to allow our customers to appreciate all the extras we put into printing them (and for easier reading).
The set was mastered in 24-bit by Ron McMaster at Capitol Mastering using Rudy Van Gelder’s beautiful-sounding original masters.
Photo Copyright © Protected
Twenty-one Francis Wolff photographs from the actual sessions, almost all of which were previously unpublished, adorn the booklet.
Jubilee Shout - October 18, 1962
Eighteen months passed before the next session in this collection, a stretch during which Stanley had been heard on several Blue Note projects in various formats. The live Minton's recordings (February '61) featured Grant Green, while the quintet heard on the opening session here convened for the third and final time under Parlan's name a month later (March '61). Dearly Beloved (June '61) introduced the working partnership of Stanley and Shirley Scott on Blue Note, with the organist identified as "Little Miss Cott" for contractual reasons. A quintet date with Grant Green and Tommy Flanagan was recorded (September '61), but went unreleased for nearly a quarter-century; while the Les McCann trio joined Stanley for That's Where It's At (January '62), in reciprocation of Stanley's participation on McCann's live recording at the Village Gate for Pacific Jazz.
All of this activity may explain why Jubilee Shout became another album that received a catalogue number, then sat in the vaults unreleased for 16 years. Tommy Turrentine and Harewood are present once again, with the rhythm section completed by pianist Sonny Clark and bassist Butch Warren, who were heard together frequently on Blue Note in this period with Billy Higgins on drums. This would prove to be Clark's final recording. Kenny Burrell, who had played with Stanley on Smith's Midnight Special/Back At The Chicken Shack session, and who would shortly feature the saxophonist on his own classic Midnight Blue album, makes the group a sextet. On August 3, 1962, with Herbie Hancock and Roger Humphries replacing Clark and Harewood, respectively, Stanley and company had attempted three of the titles heard here without producing a master take.
Stanley's Jubilee Shout is in two sections, neither of which has a written melody. Each soloist begins by improvising over a one-chord vamp, with tambourine (provided by one or another of the Turrentines) adding a sanctified touch appropriate to the song title; then the tambourine drops out as a straight-ahead blues form arrives. Each soloist - Stanley, Burrell, Tommy and Clark - and the rhythm section are expert at sustaining dramatic tension during the opening section; and once the band begins to swing, the more compact sound of Warren's bass lines and Clark's lean, linear piano create a rhythmic profile distinct from that of the "Us Three" team yet equally effective. Clark's quizzical comping when the blues changes first appear inspire Stanley to some different ideas, and Burrell does an effective job of sustaining the vamp at the start of the piano solo. The band was clearly tuned in to each other, as Harewood demonstrates when he provides the two bits for Clark's shave and a haircut. This stimulating track fades with Stanley back on the opening vamp.
There is some lovely, uncredited scoring at the beginning and the close of My Ship that makes effective use of muted trumpet and guitar, and Tommy keeps the mute in for his bridge on the second chorus. The master take has very emotional work from both Turrentines, with Stanley especially tender on the last eight bars of the theme chorus; while the alternate (one of two previously unissued takes from this session) features a wonderfully introspective half-chorus from Burrell with some surprising melodic turns.
Tommy wrote You Said It, a 16-bar form at medium tempo with a warm melody, and scored both the theme and the backgrounds to Stanley's choruses so that the group sounds bigger than a sextet. Stanley's solo is typically well-paced as it opens with staccato jabs, blossoms into more flowing lines, and then retreats to melodic counterpunching after the supportive riff commences. Warren gets his only solo of the session between Burrell and Clark, and digs deeply on his second chorus. There is a suggestion of Horace Silver in the arrangement's framing pedal point, and of Tadd Dameron in the way the changes ultimately resolve. The master take of Stanley's Brother Tom and its previously unissued alternate illustrate the judgment calls that took place when Lion assembled his LP programs. The session log indicates that he preferred the alternate, which is faster and nearly a minute shorter, but went with the earlier take as the master because of its superior tenor solo. There are other delights on the master, including the section of the first trumpet chorus where Tommy strolls (shades of Oleo, which like Brother Tom is based on I Got Rhythm chord changes), the great Burrell/Clark interaction during the guitar solo, and Clark's luminous choruses; but the alternate also has strong work from all hands, and both takes bring the best out of the rhythm section. The last two of Stanley's four choruses on each take are supported by band riffs, which inspire echoes of Sonny Stitt on the alternate. The melody is boppish, and in true bebop manner the bridge is left open for blowing - by Stanley on the way in and Harewood on the way out.
Cotton Walk, a medium-slow blues by Stanley, has a main melodic phrase quite close to Benny Golson's popular Killer Joe. It features more supportive riffing behind the fourth and fifth of Stanley's six choruses and the last of Tommy's three, Warren's steady and inspiring walking lines, and a demonstration of blues mastery by each of the four soloists. Clark, who succumbed to his longtime heroin addiction early in 1963, sounds as good as ever in both his solo and comping.
The Rodgers and Hart standard Little Girl Blue was not scheduled for inclusion on the initial LP program. When it finally appeared in 1985, it was mistakenly identified as You Better Go Now. After the introduction, which Stanley blows over Burrell's rubato support, a relaxed ballad tempo appears. There are more effective arranging touches, with a unison countermelody by muted trumpet and guitar behind Stanley's theme statement, a tenor sax obbligato that becomes a horn unison as Burrell finishes the first chorus, and a similar turn by Tommy behind Stanley as the performance concludes. Another nice stroke finds Warren holding the original tempo as Harewood doubles up behind Stanley at the beginning of the second chorus. Lion may have felt that the mood of Little Girl Blue did not fit with the other performances from this session, though its after-hours vibe would have been right in place amidst the tracks that Stanley and Burrell taped three months later for the guitarist's Midnight Blue. Stanley also reunited with Jimmy Smith on the organist's final Blue Note album Prayer Meetin' (February '63).
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"I have 60 Box sets and this one is going to my desert island. The passion and raw energy is unbelievable. Every member is a star.Sonny Clark shines and plays beautifully. Mosaic unearthed King Tut's tomb. Bravo."
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