Stanley Turrentine Up at Minton's, Vol. 1

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.

The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest ngers of jazz seem to dance weightlessly along the wooden bridge; yearning, ligree and elegant. No one else sounds like Ron Carter. His double bass often produces a crisp groove like an electric bass, yet it is always clearly de nable as the sound of a classical music instrument. Then the sound under the scorpion-like hands irresistibly swells. Payton Crossley gently caresses the cymbal, and Jimmy Green, the „new member“ on the tenor saxophone as well as pianist Renee Rosnes push the chorus onto the nely crocheted rhythm cover. “With us, nobody knows exactly what happens when,” Carter praised the Foursight Quartet‘s unique selling point. “This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song.