Archive for Stanley Turrentine

My Halloween Jazz – A Few Treats (but no “Tricks”)

Posted in The Jazz Continues..., Video Vault with tags , , , , , on October 28, 2011 by curtjazz

Though I admit to not being a big Halloween person, our friends at NPR’s A Blog Supreme, inspired me with a great post yesterday on Halloween Jazz.

I thought of four more tracks that I’ve always had a fondness for that fit well with the season. Some have an obvious connection and some are a bit of a stretch, but I hope that you’ll dig ’em all.

Happy Halloween!!!

 It’s the Great Pumpkin Charlie Brown is number two in my book of Charlie Brown specials, behind A Charlie Brown Christmas. However Vince Guaraldi’s score for …Pumpkin is as good as his immortal work on the Christmas special, though it doesn’t get as much ink. “The Great Pumpkin Waltz” is as warm and inviting as hot cider on a chilly fall evening.

Lambert, Hendricks and Ross were making an obvious grab for a seasonal single with “Halloween Spooks”. It’s not the best of their work, but it still swings and includes some of their trademark wit.  The clip created by TurnipGirl13, includes some great shots of seasonal pumpkin carving.

I was quite surprised to find that there was no clip already on YouTube for Philly Joe Jones’ “Blues for Dracula”, so I made my own.  Philly Joe does a great Bela Lugosi impersonation standing in for his friend Lenny Bruce, whose standup routine inspired the monologue. Bruce was also supposed to do the monologue on the song, but schedules didn’t work out.  Nice solo work by Julian Priester on trombone, Johnny Griffin on tenor and Tommy Flanagan on piano are additional highlights.

Our last track is “Spooky” by Stanley Turrentine. An instrumental version of the old pop hit for Classics IV. It was a filler track on a late ’60’s Turrentine date for Blue Note. This kind of groove was right in Stan’s wheelhouse and he is all over it.

Where To Find the Tracks

“The Great Pumpkin Waltz “- CD – Charlie Brown’s Holiday Hits (Vince Guaraldi); mp3 also available

“Halloween Spooks” – CD – Hottest New Group in Jazz (Lambert, Hendricks and Ross)

“Blues for Dracula” – CD – Blues for Dracula (Philly Joe Jones); mp3 also available

“Spooky” – CD – The Lost Grooves “67 – ’70 (Blue Note Artists)

Obscure Trumpet Masters #10 – Tommy Turrentine

Posted in Obscure Trumpet Masters with tags , , , , , , , , on March 25, 2011 by curtjazz

Tommy Turrentine (1928 –1997)

As a trumpet soloist Turrentine had all the qualities necessary for greatness. He had a full, warm tone throughout the range of the instrument and possessed the ability to create solos using long unbroken lines. His flair for melodic improvisation using long climaxes often contrasted sharply with the more disjointed creations of younger men who seemed anxious to brush aside convention. – Alun Morgan

He was the older brother of one of the most famous jazz musicians of the ‘60’s and ‘70’s. His kid brother recorded dozens of albums, including a few that are fondly remembered as classics. He was every bit the musician that baby brother was. Yet Stanley Turrentine is a bona fide jazz legend, while Tommy Turrentine, who recorded only one album as a leader in his entire career, is unknown to all but ardent jazz fans and the many musicians who still marvel at his gifts, both as a trumpet player and as a composer.

Thomas Walter Turrentine, Jr. was born in Pittsburgh in 1928, six years before Stanley.  He joined Benny Carter’s Big Band at eighteen. In his early twenties, he played with Billy Eckstine, Dizzy Gillespie and briefly with Count Basie.  He and Stanley then joined Earl Bostic in 1952 for a three-year bid. 

In 1959, the Turrentine brothers received their first major exposure when they joined Max Roach’s quintet. There, Tom and Stan took part in some enduring works, including Quiet as it’s Kept; Abbey Lincoln’s Abbey is Blue  and the drum battle Rich vs. Roach.  In 1960, while with Roach, he also recorded his first (and last) album, the eponymous Tommy Turrentine.  He was backed by his Roach bandmates plus pianist Horace Parlan.  Tommy Turrentine’s compositions took center stage, as he wrote five of the seven tracks on this solid and swinging date, which went unnoticed for the most part.

(Tommy Turrentine plays “Time’s Up”,  from Tommy Turrentine)

Ironically, Tommy Turrentine drew more attention for his work as a sideman, subsequent to his own album.  Stanley signed with Blue Note in 1961.  Tommy came along as a sideman on Stan’s first Blue Note album Comin’ Your Way.  Tommy also wrote the track “Thomasville” for that record; one of his most enduring compositions.  Tommy was not done yet for Blue Note; that year as he also played on and/or contributed tunes to  Parlan’s On the Spur of the Moment and Up & Down;  Jackie McLean’s A Fickle Sonance and Sonny Clark’s classic Leapin’ and Lopin’ .  In 1962-63, he added Stanley’s Jubilee Shout!!!, That’s Where it’s At and Never Let Me Go; Big John Patton’s Blue John and Lou Donaldson’s The Natural Soul to his performing and writing credits. 

(“Sow Belly Blues” from Lou Donaldson’s The Natural Soul. Tommy Turrentine – trumpet)

Though he was the technical equal of Blue Note’s rising trumpet stars Freddie Hubbard and Lee Morgan, he wasn’t as personally brash as those two. Perhaps that intangible was the missing element that kept Tommy Turrentine from greater prominence. He was also said to suffer from some health problems that curtailed his work. Whatever the reason, Tommy Turrentine pretty much faded into obscurity by the mid ‘60’s; around the same time that Stanley was rising towards the pinnacle. 

(From Sonny Clark’s Leapin’ and Lopin’ – “Midnight Mambo” – Tommy Turrentine; composer and trumpet)

He would appear on a few albums (including interestingly enough, one with Sun Ra in 1988) and at a few club dates here and there, but by the ‘70’s, Tommy Turrentine, the musician, was in semi-retirement, with his wife, in his New York City brownstone.  Tommy Turrentine, the composer, the teacher and the mentor, never stopped working however, until his passing in 1997.  Like Idrees Sulieman (Obscure Trumpet Master #9) he wrote many compositions that went unperformed and were published by Don Sickler’s Second Floor music.  The four that are included in Brian Lynch’s Unsung Heroes series, are all memorable. 

(From Unsung Heroes; Vol.2 – Brian Lynch Sextet debuting Tommy Turrentine’s “It Could Be”)

His knowledge of jazz and the people who played it is one of the reasons why, though the public’s favorite Turrentine was Stanley, many musicians still remember Tommy with great respect and fondness.

(Tommy Turrentine from the NYPL’s Jazz Oral History Series (1993))

Recommended Recordings:

This is the final post in the Obscure Trumpet Masters Series. I’m humbled to know that so many jazz fans and musicians have taken the time to read all or part of this labor of love.  Special thanks to Brian Lynch, Dave Douglas and Jason Parker (three modern-day trumpet masters who deserve to be heard more often) for their words and tweets of encouragement.

I also appreciate the suggestions from everyone, for other fine artists who should be on this list. Since this was never intended to be an exhaustive study, I knew that there would be many great, underappreciated players who would not be mentioned. But I say to fans of trumpet masters such as Dupree Bolton, Richard Williams, Guido Basso, Tomasz Stanko, Howard McGhee and many others; y’all have given me some food for thought and additional study. Hmmm…perhaps there will be a second series.

Thanks again to all of you!