Requisites
That’s Where It’s At ~ Stanley Turrentine | By Eddie Carter
Stanley Turrentine was an exceptionally prolific tenor saxophonist who garnered numerous admirers throughout his career. He is widely recognized as a key contributor to the evolution of blues-inspired hard bop and soul jazz, as well as a trailblazer in smooth jazz. This morning’s featured album submitted for your approval is a 1962 release, That’s Where It’s At (Blue Note BLP 4096/BST 84096). This record was his second collaboration with pianist Les McCann and bassist Herbie Lewis, coming on the heels of their live performance at the Village Gate just a week prior. Drummer Otis Finch completes this dynamic quartet. The copy in my library is the 2020 Blue Note Tone Poet Series stereo reissue, which maintains the original catalog number.
The album opener, Smile, Stacey by Les McCann, begins with a brief dialogue between Stanley and Les that leads into the foursome’s theme. Stanley takes charge first, delivering a driving energy and brisk articulation. Les then swings in for the second interpretation. Herbie takes a short, sharply executed walk next, which Les finishes, then
Stanley and Les share a brief exchange with Otis before the ensemble’s soft fadeout. The quartet then cools down for Soft Pedal Blues by Stanley Turrentine, which starts with the trio’s slow-burning, soulful intro. Turrentine’s notes are placed with thoughtful precision during the melody and opening statement. McCann caresses each note of the second solo, and Turrentine delicately shapes a final comment into the theme’s restatement and slow fade.
Pia by Les McCann begins with the quartet easing into a mellow groove as the melody is introduced. Les initiates the solos with some good down-home cooking. Stanley steps in next, maintaining the calm atmosphere with a thoughtful message before the ensemble reunites for the closing chorus, which gently fades away. We’ll See Yaw’ll After While, Ya Heah by Les McCann is the pianist’s lively composition with a distinctly Southern flavor. After the quartet’s theme gets things off to a good start, Turrentine leads off the first solo, delivering each verse with precise articulation. McCann responds with a spirited interpretation that gets listeners tapping their feet and grinning along until the group’s return for the ending theme.
The tempo slows down again for Dorene, Don’t Cry, I, by Les McCann, a haunting ballad that begins with the ensemble’s beautiful melody. Stanley fully embraces the opening statement by gently attending to every note with careful lyricism and sensitivity. Les follows with something significant to say in a gorgeous performance preceding the tender reprise and close. Light Blue, by Stanley’s brother, Tommy Turrentine, brings this entertaining album to a close with a lightly swinging melody that invites listeners to sit back and enjoy the ride. McCann takes the lead with a loose, relaxed reading, then Lewis provides a few moments of pure joy. Turrentine offers the final memorable moment ahead of the group’s out chorus.
Alfred Lion produced the initial session of That’s Where It’s At, and Rudy Van Gelder was behind the dials of the recording. Joe Harley supervised the audiophile reissue, and Kevin Gray mastered the album from the original analog tapes at Cohearant Audio. The album’s sound quality is outstanding, with a stunning soundstage that transports the musicians to the sweet spot in your listening room with superb fidelity. The record was pressed on 180-gram Virgin Vinyl at RTI and is dead silent until the music begins. You’re also getting high-definition gatefold photos and superb cover packaging worthy of hanging on the wall. If you’re already a member of the Stanley Turrentine or Les McCann fan club, I highly recommend That’s Where It’s At on your next record hunt. If you aren’t already familiar with either musician, this record is an excellent introduction to their extensive discographies!
~ Les McCann Ltd. In New York (Pacific Jazz PJ-45/ST 45) – Source: Discogs.com © 2025 by Edward Thomas Carter
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On The Bookshelf
A Pictorial History Of Jazz | Orrin Keepnews & Bill Grauer Jr.
A classic photographic collection documenting jazz history, particularly up to the mid-1960s, though some note its coverage of later styles is limited. Praised for its extensive and captivating black-and-white photographs, the text may be less substantial than the images and the coverage of later jazz movements is not as thorough.
The book is often described as a valuable visual reference for jazz enthusiasts, and some consider it an essential purchase, though older editions may be harder to find in good condition.
A Pictorial History Of Jazz: 1966 Crown Publishers, Inc.
Daily Dose Of Jazz…
Greg Manning was born on November 24, 1965 in Nigeria and raised in Zurich, Switzerland. While growing up he was mostly exposed to jazz by his parents. Yet, he discovered his deep love for music only after hearing Stevie Wonder’s Isn’t She Lovely. He started playing the piano at twelve and several years later moved to the United States to study piano and film scoring at Berklee College of Music in Boston, Massachusetts.
His big break came when asked to compose the music for Keep Cool, the most successful and longest running German musical. The musical led Manning back to Zurich where he continued to compose and produce for records and television.
Moving to Los Angeles, Calidornia in 2002 where his career took off. The three-time platinum producer for Universal Music Switzerland, and has had several Swiss Chart toppers since 1996. The former keyboardist and music director for Grammy Award-nominated artist Jonathan Butler, he has been the keyboardist for Mindi Abair, Gerald Albright, Will Downing, Richard Elliot, Brian McKnight, Chante Moore, and Kirk Whalum, among others.
Touring extensively for ten years throughout the U.S., Europe, South Africa, and the U.K., Greg made a conscious decision to come off the road. Not long thereafter, he started composing music for film and television. As an artist, his own music is the union of jazz, soul, and funk.
Pianist, composer Greg Manning, who operates in the soul jazz and smooth genres has never stopped composing and continues to record and perform.
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Daily Dose Of Jazz…
DANIEL DIAZ 11.22.25
Daniel Díaz Fernández was born on November 22, 1963 in Lanús, Argentina. Living in Paris, France since 1997, he has collaborated with Juan Carlos Cáceres, on the single Tango Negro, and on the album Toca Tango. In 1993 he recorded his first album The Years Alone released by Green Linnet/Xenophile Records. The variety of styles in this album was mentioned by critics. He played most of the parts fretted and fretless basses, keyboards, acoustic and electric guitars, percussion, and more.
He continued this solo career with Segundo Ciclo, recorded in 1997, released by Dutch jazz label Timeless Records in 2002, and Swan Song, released in 2015, always with guest players from around the world. Both albums featured the cosmopolitan jazz-fusion style of the first one.
Since 2005 Diaz has been composing and recording for films, TV and documentaries. He works for French publisher and music library Cezame Music Agency for whom he composed and recorded more than 250 tracks and released 5 albums alone or in collaboration.
Since 2010 his music has been used on many TV documentaries and films. In 2022 his track “Club Recoleta” from the album Elec’ Tango was used on Tom McCarthy’s feature film Stillwater
Bassist, multi-instrumentalist, arranger, composer, Raúl Diaz whose last collaboration in 2023 with Raúl Barboza was on the album Souvenirs Panamericanos, continues to perform and compose.
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Requisites
The Witch Doctor ~ Art Blakey and The Jazz Messengers | By Eddie Carter
In this morning’s discussion, I’m excited to share a remarkable release from the library with you by Art Blakey and The Jazz Messengers. Although it was recorded back in 1961, The Witch Doctor (Blue Note BST 84258) didn’t become available to the public until 1967. The Jazz Messengers were renowned for their evolving roster of exceptional musicians, and this particular album features one of the drummer’s most memorable ensembles. The group consists of Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. The copy of this album I own is the 2021 Worldwide Blue Note Tone Poet Series stereo audiophile reissue, using the original catalog number.
The title tune by Lee Morgan opens the album, and the ensemble’s visit to The Witch Doctor sets a friendly tone with its mid-tempo introduction and inviting melody. Bobby starts us off with a relaxing solo, then Wayne takes a few easy-flowing choruses. Lee then takes over to give the following interpretation before Bobby returns to add a few comments, continuing to swing joyfully with the front line into the ending theme and climax. Lee’s Afrique begins with the trio’s animal sounds before Shorter’s piercing horn leads into the quintet’s medium-paced melody. Shorter kicks off the first solo with confidence, then Morgan adds an intense, steadily burning energy. Timmons approaches the third statement effortlessly, and Blakey finishes with a strong punch before the melody’s reprise and fadeout.
Wayne Shorter’s Those Who Sit and Wait grabs your attention right away with Art’s lively introduction to the quintet’s spirited theme. Wayne launches into a rapid-fire opening statement, followed by Lee’s energetic reading. Bobby jumps in next, meeting the challenge with an excellent solo that paves the way for a heated exchange between Lee, Wayne, and Art, propelling the ensemble to an electrifying climax. Side Two commences with the rhythm section’s infectious introduction, smoothly segueing into the group’s melody of Bobby Timmons’ A Little Busy. Timmons gets right to work first. Shorter keeps the lively mood going next, followed by another solo from the pianist. Lee paves a road back to the closing chorus, which softly fades away.
Joelle by Wayne Shorter comes at you with the rhythm section’s introduction gradually increasing into the ensemble’s upbeat theme. Lee makes the initial entrance with a nimble opening solo. Wayne delivers a captivating stream of ideas in the following reading. Bobby anchors the tune with a driving swing, culminating in a return to the melody that slowly dissolves into nothingness. Lost and Found by Clifford Jordan opens at a fast gallop for the quintet’s theme. Timmons leads the charge with a high-spirited statement, then steps aside for Shorter, who romps through the following solo. Morgan pours intense emotion into the third performance next, then Art engages the front line in a quick, dynamic exchange before the ensemble races to the conclusion with a sudden, abrupt stop.
The original recording session of “The Witch Doctor” was produced by Alfred Lion, with Rudy Van Gelder serving as the recording engineer. For the reissue, Joe Harley oversaw production, and Kevin Gray handled mastering, working directly from the original master tapes at Cohearant Audio. The result is exceptional audio quality, delivering a rich soundstage that truly immerses the listener. For those who are already collectors of the Blue Note Tone Poet Series, you know firsthand the exceptional quality and attention to detail these reissues offer, everything from high-resolution gatefold images and outstanding cover design to the premium 180-gram Virgin Vinyl, with the music itself being the ultimate highlight. But if you haven’t experienced them yet and you love jazz, you’re in for an absolute treat!
In addition to its outstanding musical performances, “The Witch Doctor” by Art Blakey and The Jazz Messengers is a fantastic album from beginning to end, perfectly embodying the essence of hard bop through vibrant compositions and dynamic group interplay. I highly recommend this Blue Note Tone Poet audiophile reissue as a great addition to your jazz library. I’m sure that whether you’re already a fan of Art Blakey or just starting to explore his extensive discography, this album is sure to become a favorite on your turntable!
© 2025 by Edward Thomas Carter
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