Nightwings Stanley Turrentine

Stanley Turrentine is generally pegged as a soul-jazz man but also has proven quite adept in several other styles of modern jazz, as heard on this diverse compilation of tunes from three initially unreleased Blue Note dates with a larger ensemble. While hitting up a handful of the pop tunes of the day, Turrentine shows he is interested in and capable of tackling more modern compositions, with the vibrant and exciting assistance of pianist McCoy Tyner, also not a slouch when soul-jazz is placed in front of him. That Turrentine plays a most enjoyable fluid, tuneful, and tonic tenor saxophone has never been questioned, but what he adds in value as a leader on these tracks further cements his estimable reputation…

This collection provides a great value, especially if you total up the costs of each album separately. There are a few issues of which you should be aware. Sound quality is acceptable, but not spectacular. Audiophiles will hate these discs, but I assure you that they are listenable. More importantly, these are not cheesy 'needle drop' transfers from scratchy LPs. Plus these are from albums recorded in the late 1950s/early 1960s during an era when recording technology was rapidly improving. If you compare these to some of the albums to which I've linked below you will see that the ones in this collection do not have bonus tracks. In all cases you are getting tracks that were released on the original album. The six albums span four discs.

This album of sophisticated 1980s jazz-funk from one of the master practitioners of the genre features Stanley Turrentine accompanied by a small group on a selection of mostly uptempo pieces, including the disco-influenced "Paradise" and the ballad "I Knew It Couldn't Happen," the latter with vocals by the well-known singer and actress Irene Cara.

Stanley Turrentine's great blues-inflected tenor sax work for Blue Note Records in the 1960s helped build the template for what became known as soul-jazz, but as Turrentine left Blue Note and began working with Creed Taylor's CTI Records in the early '70s, he became increasingly a crossover artist, earning his keep with a kind of smooth, orchestrated after-hours chillout music that was delivered with just enough groove to keep things breathing. What saved all of this from being jazz wallpaper was the steady, slightly raw tone of Turrentine's sax breaks, which seldom disappointed. When he left CTI for Fantasy, Turrentine began pumping up the rhythms into light funk fusion territory…

If ever there were a record that both fit perfectly and stood outside the CTI Records' stable sound, it is Sugar by Stanley Turrentine. Recorded in 1970, only three tracks appear on the original album (on the reissue there's a bonus live version of the title track, which nearly outshines the original and is 50 percent longer). Turrentine, a veteran of the soul-jazz scene since the '50s, was accompanied by a who's who of groove players, including guitarist George Benson, Lonnie Liston Smith on electric piano, Freddie Hubbard on trumpet, bassist Ron Carter, organist Butch Cornell, and drummer Billy Kaye, among others.

As the man who wrote the liner notes says, Stanley Turrentine may be the only Texas tenor player to come out of Pittsburgh - and you can hear several of the reasons why in this distillation of his Blue Note dates from 1960 to 1966, plus a grand leap all the way to 1984. Though his sound can be heard as early as the fairly conventional "Little Sheri," the real soulful Turrentine begins to emerge in "Since I Fell for You" with the 3 Sounds, and really explodes in the splendid "River's Invitation," thanks in large part to Oliver Nelson's great chart and Herbie Hancock's irresistible comping. "Smiley Stacy" is a Les McCann blues swinger that inspires a tough, characteristically pointed solo from Turrentine and some real burning from McCann and bassist Herbie Lewis - and he digs deeply into "God Bless the Child," with then-wife Shirley Scott acting cool and caressing on the Hammond organ…