Requisites
More Than a Mood ~ Stanley Turrentine | By Eddie Carter
After the enormous success of Sugar in 1971, tenor saxophonist Stanley Turrentine began moving in a different direction towards smooth jazz and jazz funk. Two decades later, he returned to his bop roots with three CD albums for the MusicMasters Jazz label. This morning’s discussion hit the stores in 1992. More Than a Mood (Jazz Heritage 913307A) puts the listener in mind of his sixties Blue Note LPs. On this date, he is working with a superb quartet, Freddie Hubbard on trumpet (track: A1) and flugelhorn (B3), Cedar Walton on piano, Ron Carter on Bass, and Billy Higgins on drums. My copy is the 1993 US Stereo release.
The first side gets underway with Thomasville by Tommy Turrentine (Stanley’s brother), with the rhythm section fueling the frontline’s invigorating melody. Stanley reaches a height of feisty excitement. Freddie follows with a scintillating performance; then Cedar delivers an exciting improvisation. Billy enters the spotlight with vigorous enthusiasm on the finale, leading to the closing chorus. They Can’t Take That Away From Me by George, and Ira Gershwin is a quartet highlight for Turrentine and the trio, who set the pace with a beautiful melody. Stanley applies a nostalgic touch to the opening solo with a splendid presentation. Cedar responds with a delicious interpretation ahead of the reprise and soft summation.
In a Sentimental Mood by Duke Ellington, Irving Mills, and Manny Kurtz is one of The Great American Songbook’s most recorded jazz and pop standards. The quartet’s rendition begins with a concise introduction by Cedar that opens the way for Stanley’s lovely melody and delicately gentle opening statement. Cedar is up next and delivers an elegant interpretation that’s a marvel to behold. Stanley returns with a few distinctive comments preceding the foursome’s delicately gentle climax. Easy Walker by Billy Taylor and Teddy Castion moves the quartet back to a medium tempo for Turrentine’s excellent execution of the melody and opening solo. Walton moves in next with an impressive statement, then Higgins takes care of business into the closing chorus and conclusion.
To begin Side Two, the quartet tackles the Bossa Nova song, Triste, by Antônio Carlos Jobim. The title’s definition in English is sad, and it’s one of Jobim’s best-known compositions. He first recorded it in 1967, and the quartet’s rendition begins and ends with two festive opening and closing choruses. Stanley and Cedar are the featured soloists, and both give spirited readings sustained by Ron and Billy’s groundwork. Pieces of Dreams by Alan Bergman, Marilyn Bergman, and Michael Legrand commences with the trio’s introduction segueing into Turrentine’s elegant theme and pretty thoughts on the opening reading. Walton carries the ball with a presentation of pure beauty leading to the ensemble’s ending theme.
Spirits Up Above by Rahsaan Roland Kirk brings back Freddie Hubbard and displays his flugelhorn at its most beguiling. The opening melody flows with the warm, mellow tones of the front line’s gentle message over the rhythm section. Turrentine is up first and crafts a reading as sweet as honey. Walton achieves a very intimate feeling on the second statement, and Hubbard infuses the closer with sentimental warmth into the quintet’s theme reprise and poetic fadeout. The title tune, More Than A Mood, by Frank Marino and Bill Simon, brings the album to a close with a slow tempo that affords Stanley the solo spotlight alone. The trio opens this song peacefully, and Stanley responds with a gorgeous melody and alluring statement culminating with a sensuously tender closing chorus and fading out of sight.
Joe Delia produced More Than a Mood, and the recording engineer was Jimmy Douglass. The record has superb sound quality, and the music is excellent throughout. Stanley dedicated this album to his brother Tommy and fellow saxophonists Don Byas and Rahsaan Roland Kirk, and it recaptures the spirit of his Blue Note records with inspired performances. If you’re new to the music of Stanley Turrentine or are already a seasoned fan, I invite you to check out More Than a Mood on your next vinyl hunt. Sadly, the record label Jazz Heritage no longer exists, so the album may be difficult to find, but it’s worth seeking out for a spot in your library and is sure to make you smile once you do!
~ More Than a Mood (MusicMasters Jazz 01612-65079-2), Wave (A&M Records SP-3002) – Source: Discogs.com ~ In a Sentimental Mood, They Can’t Take That Away From Me – Source: JazzStandards.com ~ Pieces of Dreams, Triste – Source: Wikipedia.org ~ © 2022 by Edward Thomas Carter
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Patt Casion was born on December 31, 1963. She graduated from Berklee College of Music in Boston, Massachusetts and pursued a career that led her around the world, working in multiple genres. Along with playing with her own band, IOC with its rotating membership, she performed regularly in every kind of venue. Her versatility also made her an in-demand musical instructor.
Casion returned to the sound of the 50s and 60s, and introduced African based music into the post bop era music. Her music is also rooted in the Black church gospel idiom as she weaved improvisation into all her music.
Soprano saxophonist Patt Casion, who performed in both gospel and jazz genres, transitioned from cancer in Monterey, California on December 31, 2017. She was 55.
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Gene Mayl was born in Dayton, Ohio on December 30, 1928. He lived in France after World War II, where he worked with Claude Bolling, Don Byas, and Claude Luter.
In 1948, he formed his own Dixieland revival ensemble, the Dixieland Rhythm Kings, which recorded for London Records and Riverside Records, and was active through the mid-1970s. Among those he worked with in this group were Speckled Red and Terry Waldo.
Mayl worked extensively with George Brunis in the 1960s and 1970s, and also worked with Wild Bill Davison, Billy Maxted, Bob Scobey, and Muggsy Spanier. Double-bassist, tubaist, and vocalist Gene Mayl transitioned on May 5, 2015 in Harrison Township, Ohio.
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Cutty Cutshall was born Robert Dewees Cutshall on December 29, 1911 in Huntingdon County, Pennsylvania. Early in his career he played in Pittsburgh, Pennsylvania, making his first major tour in 1934 with Charley Dornberger. He joined Jan Savitt’s orchestra in 1938, then played with Benny Goodman in the early 1940s.
Later in the decade he worked frequently with Billy Butterfield and did some freelance work in New York City. He started working with Eddie Condon in 1949, an association which lasted over a decade. Cutshall’s credits include work with Peanuts Hucko, Bob Crosby, Ella Fitzgerald, and Louis Armstrong.
While touring with Condon in Toronto, trombonist Cutty Cutshall suffered a heart attack in his hotel room and transitioned on August 16, 1968.
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Ben Williams was born on December 28, 1984 in Washington, D.C. and began playing bass at age 10. He graduated from Duke Ellington School of the Arts. He received a Bachelor of Arts in Music Education from Michigan State University and a Master of Music in Jazz Studies at the Juilliard School.
In 2009, he won the prestigious Thelonious Monk International Jazz Bass Competition as judged by Ron Carter, Charlie Haden, Dave Holland, Robert Hurst, Christian McBride, and John Patitucci. The honor included a recording contract with Concord Records through which Ben released his debut album, State of Art, in 2011. The album featured saxophonist Marcus Strickland, guitarist Matthew Stevens, pianist Gerald Clayton, drummer Jamire Williams, and percussionist Etienne Charles.
Williams’ 2015 album Coming of Age brought together sidemen Marcus Strickland on tenor and soprano saxophones, Matthew Stevens on electric guitar, Christian Sands on piano, and John Davis on drums.
By 2020, Ben contributed to the live streamed recording of the singer Bilal’s EP Voyage-19, created remotely during the COVID-19 lockdowns. It was released the following month with proceeds from its sales going to participating musicians in financial hardship from the pandemic.
He was a member of guitarist Pat Metheny’s Unity Band, which won a Grammy Award for Best Jazz Instrumental Album for Unity Band at the 2013 award show. He was introduced as one of the “25 for the Future” by DownBeat magazine in 2016. Double bassist Ben Williams continues to compose, perform and record.
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