Stanley Turrentine Albums (51)
'Tender Togetherness'
Release Date 5/31/2005
Tracks 9
Label Wounded Bird
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What The Critics Say
The second of three albums tenor sax man Stanley Turrentine did for Elektra after leaving Fantasy Records, 1981's Tender Togetherness featured an electric jazz-funk hybrid sound that packed a good deal more punch and brightness than its predecessor, 1979's Betcha. Produced by Earth, Wind & Fire's Larry Dunn (EW&F's "After the Love Has Gone" is given a treatment here), and featuring a subtle, almost Latin feel, the album bounces and bubbles along on an almost continuous joyful light R&B groove. Turrentine's sax lines are full of that steady, strong bluesy tone that has become his signature, but this time around he is very much a part of the ensemble, and Tender Togetherness is richer for it, sounding very much like a whole piece of fabric from the opening notes of the bright, airy "Hermanos" to the playful funk of the album closer, "Havin' Fun With Mr. T.," which is set up wonderfully by "Pure Love," a 42-second snippet of Turrentine playing his tenor sax accompanied by only an acoustic piano. Turrentine's heavily arranged and orchestrated crossover work has always seemed somehow weaker than his soul-jazz small combo approach, but Tender Togetherness is as bright as a sunny day on the weekend, making it one of his better fusion hybrids. ~ Steve Leggett, All Music Guide
What The Critics Say
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, even dabbling in disco (and increasing his record sales) before jumping ship to Elektra in 1979, where he released three albums of mellow smooth jazz fusion, including this one, which features an army of electric guitarists, including Lee Ritenour, David T. Walker and "Wah Wah" Watson. Even with all those guitarists, though, things don't heat up too much and Turrentine's sax coasts over the embedded synthesized strings and orchestrated background vocals like a shark going for a leisurely swim in a pool full of Jello, which means there isn't much bite, even with the light funk that surfaces in "Betcha" and "Long Time Gone," although the synthesizers and massed guitars provide enough fanfare to make it all sound bigger than it really is. In the end, Turrentine plays great, like he always does, but it all gets muted by the soaring arrangements, leaving Betcha sounding majestic but somehow strangely empty. ~ Steve Leggett, All Music Guide
'Love's Finally Found Me'
Release Date 3/26/2002
Tracks 10
Label Classic World
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'Do You Have Any Sugar?'
Release Date 6/22/1999
Tracks 11
Label Concord Jazz
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What The Critics Say
Stanley Turrentine's stint with Creed Taylor's CTI label may not have produced any out-and-out classics on the level of the very best LPs by Freddie Hubbard, Hubert Laws, or George Benson, but the bluesy tenorist's output was consistently strong and worthwhile for all but the most stridently anti-fusion listeners. Salt Song was Turrentine's second album for CTI, and while it's perhaps just a small cut below his debut Sugar, it's another fine, eclectic outing that falls squarely into the signature CTI fusion sound: smooth but not slick, accessible but not simplistic. In general, keyboardist Eumir Deodato's arrangements have plenty of light funk and Brazilian underpinnings, the latter often courtesy of percussionist Airto Moreira. The first three cuts are the most memorable, beginning with a ten-minute exploration of the abrupt time signature shifts of Freddie Hubbard's "Gibraltar." Though a hard bop version might have returned to the theme a little less often, Turrentine's solo sections are full of ideas, befitting one of his favorite pieces of the period; plus, guitarist Eric Gale shines as both a rhythm and lead player. The traditional gospel tune "I Told Jesus" features Turrentine at his bluesiest and earthiest, with snatches of ethereal choir vocals floating up behind him. Milton Nascimento's title track, naturally, has the strongest Brazilian flavor of the program, and Turrentine skillfully negotiates its frequent shifts in and out of double time. The 1997 CD reissue also includes Nascimento's "Vera Cruz" as a bonus track. All in all, Salt Song has dated well, partly because the arrangements don't overemphasize electric piano, but mostly on the strength of Turrentine's always-soulful playing. ~ Steve Huey, All Music Guide
'Everybody Come on Out'
Release Date 11/5/1996
Tracks 8
Label Original Jazz Classics
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What The Critics Say
This session from tenor-saxophonist Stanley Turrentine often sounds like a CTI recording from the 1970s although Creed Taylor had nothing to do with it. Backed by Don Sebesky's arrangements and assisted by a strong rhythm section and Hubert Laws's flute, Turrentine's solos are stronger than the melodies and he generally overcomes the unimaginative use of strings on the ballads. Mr. T. is in fine form and he makes the most of each selection (particularly on the two blues "June Bug" and "A Luta Continua") while Laws comes across much more creative than he does on most of his own recordings. Recommended. ~ Scott Yanow, All Music Guide
What The Critics Say
For fans ready to graduate from Stanley Turrentine's many fine Blue Note sets, this excellent mid-'60s date on Impulse should be the perfect option. Joined by then-wife Shirley Scott on organ, Turrentine revels in a fine array of medium cookers, three of which came from his own pen. The covers are just as impressive, including a clutch of late-night blues and ballads from the standards canon ("Time After Time") and the Ellington ("The Feeling of Jazz") and Basie catalogs ("Sent for You Yesterday"). And making it all swing in the pocket, Turrentine and Scott get top-drawer support from bassists Ron Carter and Bob Cranshaw and drummers Mack Simpkins and Otis Finch. Enjoy. ~ Stephen Cook, All Music Guide
'More than a Mood'
Release Date 7/14/1992
Tracks 8
Label Music Master
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What The Critics Say
For this quartet date with pianist Cedar Walton, bassist Ron Carter and drummer Billy Higgins (trumpeter Freddie Hubbard sits in on two numbers), Turrentine is in top form on a variety of standards plus Tommy Turrentine's "Thomasville" and Rahsaan Roland Kirk's "Spirits up Above." A fine session. ~ Scott Yanow, All Music Guide
