Big Joe Turner Albums (19)
'Blues on Central Avenue'
Release Date 10/1/2002
Tracks 16
Label Our World
See Album Tracklist and Review
'The Midnight Special'
Release Date 8/20/2002
Tracks 13
Label Original Jazz Classics
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What The Critics Say
Big Joe Turner was among the greatest jump blues shouters of all time, and he certainly helped pave the way for the rock & roll explosion of the mid-'50s. But Turner was also a fine jazz singer. When the Kansas City native recorded for Norman Granz's Pablo label in the '70s, he was often heard in jazz settings -- and The Midnight Special is among the swing-oriented dates that Turner provided for Pablo when he was in his sixties. This album, which Fantasy reissued on CD in 2002 for the Original Jazz Classics (OJC) series, was recorded in a Los Angeles studio in 1976. But The Midnight Special sounds like it could have been recorded in a small club. That's because it has the feeling of a loose jam session; Turner and his hard-swinging sidemen (who include saxophonist Curtis Peagler, trumpeter Jake Porter, and guitarist Cal Green, among others) sound delightfully spontaneous on standards that range from "I Can't Give You Anything But Love" and "You're Driving Me Crazy" to Leadbelly's "The Midnight Special." The singer also turns his attention to Woody Guthrie's "So Long" (a folk song) and "I Left My Heart in San Francisco"; although Tony Bennett recorded the definitive version of the latter, Turner's jazz interpretation isn't without its charms. To his credit, Turner doesn't even try to emulate Bennett's version -- he's wise enough to do his own thing. The Midnight Special isn't among Turner's essential releases, but it's an enjoyable outing that hardcore fans will appreciate -- and collectors will be happy to know that Fantasy has added five bonus tracks (most of them alternate takes). ~ Alex Henderson, All Music Guide
What The Critics Say
This somewhat obscure Black & Blue session (reissued by Evidence on CD) features the great blues singer Big Joe Turner a year before he hooked up with the Pablo label. Turner is backed by a particularly colorful and supportive trio comprised of pianist Milt Buckner (the master of block chords), bassist Slam Stewart (who takes a few of his trademark solos in which he sings along with his bowed bass) and veteran swing drummer Jo Jones. Turner was still in his prime at the time and, even if his material was not too adventurous, the music (which includes a few newer bluish originals plus such standbys as "Cherry Red" and "'Tain't Nobody's Bizness If I Do") is performed with enthusiasm and solid swing. ~ Scott Yanow, All Music Guide
What The Critics Say
Big Joe Turner's Pablo recordings of 1974-84 tended to be loose and sometimes a bit sloppy (with some overlong performances) but they were always full of spirit. On this particular CD, Turner's classic singing is matched with a mostly all-star crew including trumpeter Roy Eldridge, trombonist Al Grey, tenor saxophonist Lee Allen, bassist Ray Brown and drummer Earl Palmer (along with guitarist Thomas Gadson and Jimmy Robins on piano and organ). Turner performs Woody Guthrie's "So Long" and five of his recent originals; Eldridge and Grey's occasional competitive solos uplift the music. ~ Scott Yanow, All Music Guide
What The Critics Say
Big Joe Turner was a bit past his prime at age 72, when he recorded this set, but he was clearly inspired by the opportunity to sing with Roomful of Blues. Turner stars on seven numbers (including "I Want a Little Girl," which has a piano solo by guest Dr. John), and there are also two instrumentals that let the impressive band stretch out. With the group featuring guitarist Ronnie Earl, Greg Piccolo on tenor, trumpeter Bob Enos and trombonist Porky Cohen, among others, Turner was ably supported, and his high spirits made the music well worth hearing. ~ Scott Yanow, All Music Guide
What The Critics Say
Many of Big Joe Turner's Pablo recordings matched him with big names, but this workout finds him jubilant and in top form singing with some lesser-known musicians (altoist Bob Smith, Herman Bennett on second guitar, pianist J.D. Nicholson, bassist Winston McGregor, drummer Charles Randall, and the only "name" of the date, guitarist Pee Wee Crayton). The solos of Smith (who sounds like a mixture of Tab Smith and Johnny Hodges) and Crayton are consistently excellent, and Big Joe turns everything into blues, including such unlikely material as "Sweet Lorraine" and "Pennies from Heaven." This CD reissue gives listeners a good example of what it was like to catch the great blues singer during a club date with a pickup band. ~ Scott Yanow, All Music Guide
'Have No Fear, Joe Turner Is Here'
Release Date 11/18/1991
Tracks 5
Label Pablo
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What The Critics Say
Big Joe Turner really stretches out during this Pablo date (reissued on CD), singing only five songs: an 11-minute version of Woody Guthrie's "How Come My Dog Don't Bark," three basic originals and "Rocks in My Bed." Sticking to the blues, Turner is joined by four horns (including altoist Bobby Smith), pianist Lloyd Glenn, and a rhythm section that includes guitarist Pee Wee Crayton (the most prominent soloist). The very spontaneous music has plenty of riffing from the horns and fine late-period shouting from Big Joe. ~ Scott Yanow, All Music Guide
'Everyday I Have the Blues'
Release Date 7/1/1991
Tracks 6
Label Pablo/OJC
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What The Critics Say
This CD reissues one of Big Joe Turner's better Pablo releases. In 1975 Turner's voice was still strong and he had a compatible four-piece group that featured veteran guitarist Pee Wee Crayton. With guest Sonny Stitt contributing typically boppish solos on tenor and alto, Turner sings mostly familiar material (including "Stormy Monday," "Piney Brown" and "Shake, Rattle and Roll") plus his recent "Martin Luther King Southside." Recommended. ~ Scott Yanow, All Music Guide
'Patcha, Patcha All Night Long'
Release Date 4/11/1985
Tracks 6
Label Pablo/OJC
See Album Tracklist and Review
What The Critics Say
This CD reissue, which is subtitled "Joe Turner Meets Jimmy Witherspoon," does not quite deliver on its promise. Turner (who would pass away within a year) and Witherspoon only actually meet up on the first two numbers and, other than some interplay on "Patcha, Patcha," the matchup generates few sparks. However the individual features (two songs apiece) are excellent, particularly Witherspoon's "You Got Me Runnin"' and Turner's "The Chicken and the Hawk." In addition there are many fine solos from altoist Red Holloway, Lee Allen on tenor and guitarist Gary Bell. This is a worthwhile and obviously historic set, recommended as much to blues as jazz collectors. ~ Scott Yanow, All Music Guide
