Requisites

Sugar ~ Stanley Turrentine | By Eddie Carter

The landscape of jazz was changing as it entered the seventies.  Miles Davis began pushing the envelope from Hard-Bop and Post-Bop to Jazz Fusion with In A Silent Way (1969), and Bitches Brew (1970) would take it further in that direction.  Due to his commercial success with Bitches Brew, some musicians also moved from those styles into Avant-Garde and Free Jazz.  Still, others began a journey toward what would eventually be labeled Smooth Jazz.  Stanley Turrentine, a veteran Soul-Jazz tenor saxophonist since the fifties had just ended a decade-long association with Blue Note that began with his debut, Look Out (1960), and was looking to build his audience.  He signed with CTI Records in 1970, the independent label owned by producer Creed Taylor which originally began as a subsidiary of A&M Records in 1967.

Though no one knew it at the time, Sugar (CTI Records CTI 6005) would become the biggest selling album of Stanley’s career and the title song, a phenomenal hit earning him the nickname, “The Sugar Man”.  The record’s success was also instrumental in changing the direction for future CTI releases toward more Jazz-Funk and Funk-Soul albums.  Stanley is joined by an impressive supporting cast, label mate Freddie Hubbard on trumpet, Lonnie Liston Smith (track: A1) on electric piano, Butch Cornell (tracks: A2, B1) on organ, George Benson on guitar, Ron Carter on bass, Billy Kaye on drums, and Richard “Pablo” Landrum (tracks: A2, B1) on congas.  My copy used in this report is the 2009 Pure Pleasure Records UK Stereo Audiophile reissue (PPAN CTI 6005).

Side One starts with Stanley’s original, Sugar.  The rhythm section begins at mid~tempo with an infectious introduction hooking you from the opening notes.  The front line presents the melody with a lightly swinging beat.  Stanley strides confidently into a danceable lead solo.  Freddie settles into a funky groove on the second statement.  George tells the next story with some bluesy guitar work and assistance from both horns providing a rhythmic supplement for one chorus.  The ensemble reprises the melody and disappears into a slow fade.

Sunshine Alley by Butch Cornell opens with Cornell leading the rhythm section fueled by Kaye’s hypnotic drums and Landrum’s soulful conga.  Both horns take it from there on the bluesy theme.  Cornell, who I was unfamiliar with before his appearance here, easily holds his own with a convincing lead solo.  Benson gives a splendid performance with the rhythm section slipping neatly alongside.  Hubbard cooks up something good next, then Turrentine adds some soul food to the final solo that reaches a peak of inspiration preceding the ensemble taking the song out.

The group closes with a vigorous blowing rendition of John Coltrane’s Impressions occupying Side Two.  Butch starts the song with a soulful introduction.  The front line provides the spark on the main theme to “get this party started” as my wife likes to say.  Stanley takes off first at a hard-swinging gallop.  Butch comes in next for a vigorous interpretation with both horns humming behind him.  Freddie brings an electrically charged dynamism to the third solo with compelling intensity.  George adds a bit of excitement to the final reading with some high-voltage licks.  Stanley punctuates the closing chorus with final phrases of white heat into an energetic fadeout.

The impeccable rhythm section of Ron Carter, Billy Kaye, and Richard “Pablo” Landrum is the power station behind each soloist, giving the album its depth.  The remastering of Rudy Van Gelder’s original recording by Kevin Gray and Steve Hoffman is exemplary.  The vinyl is quiet until the music starts, and the LP is a sonic treat for your ears with a spacious soundstage that’s stunning.  There’s something for everyone on Sugar by Stanley Turrentine.  It’s a Soul-Jazz buffet of his tenor sax, a swinging group, and an irresistible groove that’s sure to make it a favorite in any jazz library!

~ Bitches Brew (Columbia GP 26), In A Silent Way (Columbia CS 9875), Look Out (Blue Note BLP 4039/BST 84039) – Source: Discogs.com
© 2021 by Edward Thomas Carter

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