Tommy Turrentine

Stanley Turrentine Jubilee Shout!!! (Blue Note 1962/86)

- Francois 7 Comments

Don’t let the marketing gimmick of exclamation marks scare you off. Stanley Turrentine’s Jubilee Shout!!! delivers. It’s a lively, down-home session. Sonny Clark’s aboard. Yet, it was shelved and wasn’t released until 1986.

Stanley Turrentine - Jubilee Shout

Personnel

Stanley Turrentine (tenor saxophone), Tommy Turrentine (trumpet), Kenny Burrell (guitar), Sonny Clark (piano), Butch Warren (bass), Al Harewood (drums)

Recorded

on October 18, 1962 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BST 84112 in 1986

Track listing

Side A:
Jubilee Shout
My Ship
You Said It
Side B:
Brother Tom
Cotton Walk
You Better Go Now (Little Girl Blue)


Stanley Turrentine. Mr. T. Fleshy, friendly face. A man you love to love. A Flophouse favorite. Adored by lovers of classic, smoky modern jazz. He’s got that thang. In 1962, the tenor saxophonist had hit his stride on the Blue Note label. Turrentine’s cooperation with pianist Les McCann, That’s Where It’s At, had been the last in a series of five albums that started in 1960 with Blue Hour, Turrentine’s association with The Three Sounds. His accessible, smart albums were good sellers.

Big, slightly breathy and warm-blooded, Turrentine’s tone renders a night out into town totally unnecessary. Save some money for a new vacuum cleaner. Stanley is party enough, blurs your head in drifting shreds of smoke, teleports the scent of soul food, the chatter of nocturnal Harlem nights right to the heart of your residence. Or flexible workspace. Or Club Med bungalow. He brings the blues. Not a hoarse kind, but stylized through the use of rich, resonant lines that are built from notes ending with a trademark, ever-so-slight vibrato and snappy bent note. Simultaneously, Turrentine displays modern jazz sensibility, but eschews excessive frills. A professor of tension and release.

Bonus: Sonny Clark! The maestro, three months short of his unfortunate passing, recorded erratically in 1962. But the dates he did were still top-notch: Jackie McLean’s Tippin’ The Scales, Grant Green’s posthumous Nigeria, Oleo and Born To Be Blue, and Dexter Gordon’s iconic A Swingin’ Affair. A couple of blues-drenched affairs: Don Wilkerson’s Preach Brother!, (just one exclamation mark!) Ike Quebec’s posthumous Easy Living. That’s it. Excluding Turrentine’s Jubilee Shout. Clark thinks out of the box, presenting hip blues voicings and eccentric asides in clusters of long, flowing lines that may not exactly stretch the boundaries of bars as frequently as in his heyday, but nevertheless comprise ample proof of a mind that still overflowed with ideas.

A bunch of top-rate guys to say the least, Stanley and Tommy Turrentine, Sonny Clark and Kenny Burrell have a lot of room to stretch out in a slow blues (Cotton Walk), uptempo cooker with a nifty line and stop-time rhythm (You Said It), lilting swingers (Brother Tom, My Ship) and a ballad (Little Girl Blue – wrongly credited on the vinyl release as You Better Go Now). The blast of the album is Jubilee Shout. A rousing gospel rhythm with pounding piano chords on the one and two sets the pace and is repeated between the 4/4 sections, which create room for the solo time of, subsequently, Stanley Turrentine, Tommy Turrentine, Sonny Clark and Kenny Burrell. It’s the musical equivalent of the archetypical lyric, ‘Sometimes I sing the blues, but I know I should be praying.’ Either way is right by me.

Why didn’t Blue Note release Jubilee Shout at the time? It’s a crackerjack session. Well, that was up to Alfred. The indomitable Lion also shelved, for instance, Lou Donaldson’s Lush Life, Lee Morgan’s Tom Cat, Wayne Shorter’s The Soothsayer and Grant Green’s Solid, which proved to be one of the guitarist’s crown achievements upon its release in 1979. However, Lion had many sessions to choose from in these instances and generally didn’t release more than three albums per artist per year. Market overflow wasn’t an obstacle in Turrentine’s case. That’s Where It’s At was the only album in 1962 to date. Maybe the title track and Cotton Walk were deemed too long. At any rate, the album was first released on a two-fer in 1978 and finally came out in 1986 with the originally intented cover art and catalogue number. CD release followed in 1988. It has also been included in the much-discussed, appreciated vinyl reissue series of Music Matters. The album was destined to bob up from the wealthy lake of Turrentine’s catalogue.

Jackie McLean A Fickle Sonance (Blue Note 1961)

- Francois 4 Comments

If Jackie McLean’s career would’ve ended right after recording A Fickle Sonance, people would certainly have pointed out the alto saxophonist’s development from one of Charlie Parker’s most proficient disciples to an alto saxophonist that made his mark with a series of excellent Blue Note recordings from 1959 to 1961, employing his highly emotional, piercing sound: already a great legacy. However, McLean raised the bars considerably the following years, breaking and entering hard bop’s living quarters with a series of vanguard recordings in cooperation with avantgardists like Ornette Coleman.

Jackie McLean - A Fickle Sonance

Personnel

Jackie McLean (alto saxophone), Tommy Turrentine (trumpet), Sonny Clark (piano), Butch Warren (bass), Billy Higgins (drums)

Recorded

on October 26, 1961 at Van Gelder Studio, Englewood Cliffs, NJ

Released

as BLP 4089 in 1961

Track listing

Side A:
Five Will Get You Ten
Subdued
Sundu
Side B:
A Fickle Sonance
Enitnerrut
Lost


Fickle means ‘liable to sudden unpredictable change’. Sonance is an archaic synonym of ‘sound’. By calling his album and title track thus, McLean reveals to be a conscious commentator of the dual nature of both his own sound and style and jazz in general, which is all about surprise.

All Music states that ‘the playing’ on A Fickle Sonance ‘remained in a swinging, blues-oriented style, showing no hints of the direction his music was about to take’. Not entirely accurate. The title track certainly foreshadows McLean’s modal jazz. McLean’s solo in A Fickle Sonance borders on the abstract.

The angular quality of McLean’s lines and his probing, biting tone set McLean apart from his contemporaries. He’s a passionate player with a dark-hued sound, involving macabre, if occasionally frivolous overtones. A fickle sonance for sure. The way McLean lends substance to ballads was striking as well. McLean’s powerful statements on his original composition Subdued suggest a passionate singing voice.

Tunes like Sonny Clark’s Sundu, Tommy Turrentine’s Enitnerrut (Turrentine spelt backwards) and Butch Warren’s Lost fit into the ‘codified’ Blue Note message: deceptively effortless hard bop tracks from a rhythm section that would work together two weeks later on Sonny Clark’s splendid swan song as a leader, Leapin’ And Lopin’ on November 13, 1961.

Sonny Clark’s Five Will Get You Ten is more unusual. It’s a rip-off from one of Thelonious Monk’s unreleased cuts, Two Timer, that Clark presumably overheard Monk play and plagiarized in order to raise quick cash for his increasingly alarmous drug habits. (Monk never found out, but undoubtly would’ve forgiven the younger Clark, who was taken under his wings by Monk for quite a while at the famous jazz mecenas Nica “Pannonica” de Koenigwarter’s residence) Clark’s title arguably alludes to the drug scene; ‘five’ would be cash, ‘ten’ would be a certain amount of dope.

Who wouldn’t kill for an unreleased Monk track? It’s an alluring tune with a bridge that resembles Bemsha Swing and McLean jumps at the opportunity, alternating note-bending wails that stretch the boundaries of the melody line with rapid glissandos. Monk’s tune is fitting, since in A Fickle Sonance’s set of tunes, air and spaceousness are dominant features. To create a relaxed atmosphere while operating on a strikingly emotional as well as a highly proficient level is no small feat of Jackie McLean’s outstanding quintet.

Horace Parlan Quintet Speakin’ My Piece (Blue Note 1961)

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Horace Parlan is a very interesting pianist, not only because of his peculiar playing style that is due to his handicapped right hand. He’s an essential hard bop player and made a lot of recordings in the post bop-style. But the borders weren’t strict, Parlan puts a lot of blues in post bop and a big dose of adventurous lines in his bluesy output.

Horace Parlan Quintet - Speakin' My Piece

Personnel

Horace Parlan (piano), Stanley Turrentine (tenor saxophone), Tommy Turrentine (trumpet), George Tucker (bass), Al Harewood (drums)

Recorded

on July 14, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4043 in 1961

Track listing

Side A:
Wadin’
Up In Cynthia’s Room
Borderline
Side B:
Rastus
Oh So Blue
Speakin’ My Piece


Take Up In Cynthia’s Room from Parlan’s second album as a leader on Blue Note, Speakin’ My Piece. It’s a medium-tempo swinger with graceful blues licks and blue notes, elegant, like the whole album, but many choruses are embellished with idiosynchratic entrances and percussively stamped-out glissandos as well. Parlan also doesn’t shy away from suddenly going up an octave. Pleasant elements of surprise.

Horace Parlan was stricken with polio as a baby, which resulted in the partial crippling of his right hand. The playing style of the Pittsburgh-born pianist – poignant left hand lines and voicings and sparse, rhythmic right-hand comping- attracted the attention of visiting jazz pros in the early fifties. From 1952 to 1957, Parlan played with Sonny Stitt. Thereafter, Charles Mingus invited him to work in his Jazz Workshop. Parlan’s singular style is a great asset of the classic Mingus albums Mingus Ah Um and Blues & Roots.

In 1972, Parlan moved to Copenhagen, Denmark. Parlan became a fixture of the Danish scene (and its major jazz club, Club Montmartre), which already was graced with the presence of other American expatriates as Dexter Gordon, Kenny Drew, Ben Webster and Archie Shepp. With Shepp, Parlan recorded the influential, gospel-drenched Goin’ Home in 1974, the recording of which, alledgedly, brought tears to the duo’s eyes during each tune. Throughout the seventies and the early eighties, Parlan recorded prolifically on the Danish label Steeplechase.

Nowadays, Parlan still lives in the small village of Rude near Copenhagen. The 86-year old retired and blind pianist, who has been living in a nursery home for some time now, talked to BBC World Service in 2015. I wrote about that touching portrait just a while ago.

Speakin’ My Piece is part of a series of consistent, top-rate albums that Parlan made with his regular trio for Blue Note in the early sixties. The trio, including bassist George Tucker and drummer Al Harewood, came to be known as Us Three, a classic rhythm unit of the Blue Note roster with an unusually unified sense of purpose. The line-up’s first album for Blue Note was named Us Three (1960). Parlan is the last man standing, as George Tucker died from cerebral hemorrhage in 1965 (allegedly while performing with Kenny Burrell) and Al Harewood passed away in 2014. As you may well know, the jazz dance outfit US3 used the catchy name and hit big with 1993’s Hand On The Torch, sampling several classic Blue Note recordings in the process.

But why bother with forgettable hybrids when the real deal is available?

Sonny Clark Leapin’ And Lopin’ (Blue Note 1961)

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Find me a bummer moment in Sonny Clark’s discography and I’ll buy you a drink. But I won’t because it’s a fruitless search. One of the essential hard bop pianists, Clark had taste written all over him. His swan song as a leader, Leapin’ And Lopin’, includes some of his most enduring tunes and classiest performances.

Sonny Clark - Leapin' And Lopin'

Personnel

Sonny Clark (piano), Tommy Turrentine (trumpet), Charlie Rouse (tenor saxophone), Ike Quebec (tenor saxophone A2), Butch Warren (bass), Billy Higgins (drums)

Recorded

on November 13, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4091 in 1962

Track listing

Side A
Something Special
Deep In A Dream
Melody In C
Side B
Eric Walks
Voodoo
Midnight Mambo


Does it top 1958’s Cool Struttin’, Clark’s best known (and best-selling) album? A foolish question, perhaps. Brilliant Clark moments weren’t reserved for his leadership dates only but occured just as frequently when he appeared as a sideman for the myriad of fellow legends of the day, particularly for Blue Note, where Clark was a more than welcome pianist in his heyday of 1958-62.

Take his tremendously swinging and inspiring accompaniment and soloing on Dexter Gordon’s masterpieces Go and A Swingin’ Affair. Or that fabulous solo on Airegin from the sessions that would be released posthumously (for both of them) as Grant Green albums Nigeria (Airegin spelled backwards) and Oleo, wherein both musicians really get down with it. It’s a typical Clark mix of elegance and raw power.

I guess it’s this mix, steeped in the blues, that has kept luring musicians and incrowd into the Sonny Clark realm both during his lifetime and for decades thereafter. Clark, one of the most infamous jazz casualties, died from an overdose in New York City on January 13, 1963. To name but a few admirers, note that Bill Evans composed a touching tribute to Clark in 1963, the anagram NYC’S No Lark, and that John Zorn recorded Clark or ‘Clarkian’ tunes for years. 1985’s Voodoo is a well-known album of Zorn’s The Sonny Clark Memorial Quartet.

Also very attractive are Clark’s long, fluent lines that often stretch over bars extensively. Like those your hear in Leapin’ And Lopin’s third cut, Melody For C, a shuffle that swings both smoothly and intensely, all the while showing enough eccentricity to make you laugh and leap sideways.

In the uptempo Something Special, a very attractive melody that, not unlike a Horace Silver tune, benefits from effective use of stop time, Clark leaves plenty of space as an accompanist for Charlie Rouse and Tommy Turrentine to freely swing their way through the changes. The manner in which Rouse starts his solo, building on the melody, suggests the influence of Thelonious Monk, whose outfit Rouse had been part of since 1959. Voodoo is jazzified blues at its very best: intricate enhancements on the blues form coupled with heartfelt blowing. It’s the one track that would fit right in on Cool Struttin’.

The abovementioned tracks are accompanied by Deep Dream, a ballad that combines wry wit with pathos (including Ike Quebec’s breathy tenor), bassist Butch Warren’s quirky, intricate Eric Walks and Midnight Mambo, a buoyant Tommy Turrentine composition. They round off the most diverse album in the brilliant pianist’s book.

Paul Chambers 1st Bassman (Vee-Jay 1960)

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It’s not so unusual that Paul Chambers, one of the foremost bass players of modern jazz, made a string of five solo albums between 1956 and ’60. It is unusual, considering Chambers’ standing and the dawning of an equally promising next decade, that 1st Bassman is his last. Another distinctive feature of 1st Bassman is that Yusef Lateef wrote all of the tunes of this enjoyable blowing session, with the exception of a Cannonball Adderley blues, Who’s Blues. Lateef displays unique horn chops as well.

Paul Chambers - 1st Bassman

Personnel

Paul Chambers (bass), Yusef Lateef (tenor sax), Tommy Turrentine (trumpet), Curtis Fuller (trombone), Wynton Kelly (piano), Lex Humphries (drums)

Recorded

on May 12, 1960 at Bell Sound Studios, NYC

Released

as VJLP 3012 in 1960

Track listing

Side A:
Melody
Bass Region
Side B:
Retrogress
Mopp Shoe Blues
Blessed


The session contains an interesting line-up. Paul Chambers and Wynton Kelly made up an elite rhythm unit with drummer Jimmy Cobb, that recorded with John Coltrane and Wes Montgomery. Yusef Lateef was in between his formative years as a recording artist and the period wherein he started to incorporate Eastern influences into his style and had a great stint in The Cannonball Adderley Quintet. Drummer Lex Humphries recorded two albums with Lateef during the 1st Bassman-period. Curtis Fuller had been making a name for himself as an astute and soulful trombonist. Trumpeter Tommy Turrentine, finally, had just left Max Roach’s group, where he’d followed in the footsteps of the legendary Clifford Brown.

Not only the line-up is an asset, the impressive drive of Chambers’ walkin’ bass and his outstanding solo abilities contribute to the relevance of this album as well. Lateef graces many tunes with simultanuously idiosyncratic and bluesy tenor and Turrentine’s trumpet style works well within the loose proceedings. However, the straightforward vehicles for blowing in four/four time that Lateef wrote, do tend to get tiresome. Mainly, they’re started off with intricate bass figures and thereafter possess intelligent bass interludes from Chambers and extended horn and piano solos. Ballad Blessed is the black sheep among the herd, containing bowed bass and the muted, lyrical trumpet style of Tommy Turrentine.

Paul Chambers, as is well documented, contributed to a stunning amount of recordings, among them many legendary albums. To name but a few: John Coltrane’s Blue Train and Giant Steps, Thelonious Monk’s Brilliant Corners, Sonny Clark’s Cool Struttin’, Oliver Nelson’s The Blues And The Abstract Truth, Lee Morgan’s Leeway, Miles Davis’ Milestones and Kind of Blue, Sonny Rollins’ Tenor Madness and Hank Mobley’s Workout. Being in constant demand probably prevented Chambers from recording more solo albums from 1960 to his untimely passing in 1969. 1st Bassman doesn’t rank among his prime performances, but it still is well above average.