Stanley Turrentine • A Chip Off The Old Block

 

Review by Michael G. Nastos:

The circumstances surrounding the recording of this album are as important as the music you will hear and enjoy. Inspired by the songbook of Count Basie, tenor saxophonist Stanley Turrentine and his wife of four years, organist Shirley Scott, planned on recording with a septet, and went into the studio with that band on October 12, 1963, but those sessions were scrapped. On October 14, two tracks were finished and included here, but October 21 saw the band pared down to a quintet, and the results were acceptable. Trumpeter Blue Mitchell's contributions were quite desirable, he was the second lead voice in the ensemble, and success was attained. Turrentine and Mitchell played together in the 1954 edition of the Earl Bostic ensemble, and happily renew their musical friendship. The Basie evergreen "One O'Clock Jump" leads off the date swinging with Turrentine and Mitchell trading melody lines before an outstanding solo from the trumpeter. A first take from the larger ensemble is described by Bob Blumenthal in the liner notes as ragged, but perhaps further attempts would have smoothed out the scruffy mood. The tenor man sounds as if he is feeding the melody line to trombonist Tom McIntosh and baritone saxophonist Charles Davis ad lib instead of reading charts, although it doesn't sound all that uninspired. Neal Hefti's "Cherry Point" with the quintet is an easy swinging, tenor/organ trade off, in a much slower tempo with the septet, two minutes longer, a bit sluggish, perhaps too rich, but soulfully coming together at the coda. Dedicated to Nashville DJ Hoss Allen, the classic road time shuffle "Blues in Hoss' Flat" chips off many familiar phrases in the main frame, while Hefti's simmering "Midnight Blue" (not Kenny Burrell's version that Turrentine also played on) gives Scott room to subtract one color and shade the unison melody with the tenor and trumpeter. The lone ballad "Spring Can Really Hang You Up the Most" emphasizes Turrentine's soul quotient with Mitchell offering a marvelous countermelody. The spare approach of Basie is hard to ignore, and though not essential in Turrentine's discography, it is an interesting item that showcases his lighter side positively.

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Traducción Automática:
Reseña por Michael G. Nastos:

Las circunstancias que rodean la grabación de este álbum son tan importantes como la música que escuchará y disfrutará. Inspirado por el cancionero de Count Basie, el tenor saxofonista Stanley Turrentine y su esposa por cuatro años, la organista Shirley Scott, planearon grabar con un septeto, y entraron en el estudio con esa banda el 12 de octubre de 1963, pero esas sesiones fueron descartadas. El 14 de octubre, dos pistas fueron terminadas e incluidas aquí, pero el 21 de octubre vio a la banda reducida a un quinteto, y los resultados fueron aceptables. Las contribuciones de Trumpeter Blue Mitchell fueron bastante deseables, fue la segunda voz principal en el conjunto, y se logró el éxito. Turrentine y Mitchell jugaron juntos en la edición de 1954 del conjunto de Earl Bostic, y felizmente renovaron su amistad musical. El basie Evergreen "One O'Clock Jump" inicia la fecha oscilando con Turrentine y Mitchell intercambiando melodías antes de un excelente solo del trompetista. Bob Blumenthal describe una primera toma del conjunto más grande en las notas del liner como algo irregular, pero quizás otros intentos habrían suavizado el estado de ánimo desaliñado. El tenor suena como si estuviera alimentando la melodía del trombonista Tom McIntosh y del saxofonista barítono Charles Davis ad lib en lugar de leer gráficos, aunque no suena tan poco inspirado. El "Cherry Point" de Neal Hefti con el quinteto es un intercambio balanceado, de tenor / órgano, en un tempo mucho más lento con el septeto, dos minutos más, un poco lento, quizás demasiado rico, pero conmovedoramente unidos en la coda. Dedicado a Nashville DJ Hoss Allen, el clásico Road Shuffle "Blues in Hoss 'Flat" corta muchas frases familiares en el fotograma principal, mientras que Hefti hirviendo a fuego lento "Midnight Blue" (no la versión de Kenny Burrell en la que Turrentine también jugó) le da a Scott espacio para restar un color y sombrear la melodía al unísono con el tenor y el trompetista. La solitaria balada "Spring Can Really Hang You Up The Most" enfatiza el cociente de soul de Turrentine con Mitchell ofreciendo una maravillosa contramelodía. El enfoque de repuesto de Basie es difícil de ignorar, y aunque no es esencial en la discografía de Turrentine, es un elemento interesante que muestra positivamente su lado más ligero.

01. One O'Clock Jump
02. Midnight Blue
03. Blues In Hoss's Flat
04. Spring Can Really Hang You Up The Most
05. Cherry Point
06. One O'Clock Jump
07. Cherry Point (First Version)

BLUE MITCHELL, trumpet
STANLEY TURRENTINE, tenor sax
SHIRLEY SCOTT, organ
EARL MAY, bass
AL HAREWOOD, drums

Englewood Cliff, New Jersey, October 14 & 21, 1963 

 

 

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