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Stanley Turrentine Vinyl Records
Sugar (Pure Pleasure)If ever there were a record that both fit perfectly and stood outside the CTI Records' stable sound, it is "Sugar" by Stanley Turrentine. 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. The title track is a deep soul blues workout with a swinging backbeat and the rhythm section fluidly streaming through fours and eights as Benson, Hubbard, and Turrentine begin slowly and crank up the heat, making the pace and stride of the cut simmer then pop — especially in Hubbard's solo. This is truly midnight blue, and the party's at the point of getting really serious or about to break up. By the time Benson picks up his break, full of slick, shiny, warm arpeggios, the seams are bursting and couples are edging into corners. Butch Cornell's "Sunshine Alley" is a solid, funky groover, paced by organ and double fours by Kaye. Turrentine and Hubbard stride into the melody and keep the vamp in the pocket, riding out past the blues line into a tag that just revs the thing up even further. But the big surprise is in the final track, one of the most solidly swinging, from-the-gut emotional rides of John Coltrane's "Impressions" ever taken. Turrentine is deep inside his horn, ringing out in legato with everything he has — and it is considerable. Ron Carter's bass playing flows through the modal interludes, creating a basis for some beautifully intervallic invention by Benson and Smith by building a series of harmonic bridges through the mode to solos. It's hard to believe this is Turrentine, yet is could be no one else. If jazz fans are interested in Turrentine beyond the Blue Note period — and they should be — this is a heck of a place to listen for satisfaction.
- Freddie Hubbard (trumpet)
- Stanley Turrentine (tenor saxophone)
- Lonnie Liston Smith (electric piano)
- Butch Cornell (organ)
- George Benson (guitar), Ron Carter (bass), Billy Kaye (drums)
- Richard "Pablo" Landrum (conga)
Recording: November 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
Production: Creed Taylor
Format: 1LP 33rpm / gatefold sleeve
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
This title is not eligible for discount.1. Sugar
2. Sunshine Alley
4. Sugar (previously unreleased, live, bonus track)
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Up at Minton's Volume 1This is a perfectly solid record featuring tenor saxophonist Stanley Turrentine, guitarist Grant Green, pianist Horace Parlan, bassist George Tucker and drummer Al Harewood during a frequently exciting live set. Although recorded early in the careers of Turrentine and Green, both lead voices are easily recognizable with Green actually taking solo honors on several of the tracks. Standards and a couple of blues make up the repertoire, giving listeners a definitive look at the soulful Mr. T. near the beginning of his productive musical career.
This title is not eligible for discount.1. Come Rain or Come Shine
2. Love for Sale
$54.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs SealedBuy Now
He married the organist Shirley Scott in 1960 and played then frequently with her. In the 1960s he started working with organist Jimmy Smith, and made many soul jazz recordings both with Smith and as a leader. In the 1970s he turned to jazz fusion. He worked with Milt Jackson, Bob James, Richard Tee, Idris Muhammad, Ron Carter, and Eric Gale, to name a few. He returned to soul jazz in the 1980s and into the 1990s. Turrentine lived in Ft. Washington, Maryland from the early 90's until his death.
He was the brother of trumpeter Tommy Turrentine. Turrentine died of a stroke in New York City September 12, 2000. He is buried in Pittsburgh's Allegheny Cemetery.