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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Daily Dose Of Jazz…
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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MARIA HOWELL
Holiday’s traumatic childhood and fight to be treated as an equal both on and off the bandstand weren’t fully appreciated in her time. But once the world caught up to her, they discovered a trailblazer and one of the most gifted storytellers in American music.
Billie Holiday Show
Maria Howell – Vocals
Justin Varnes – Drums and Narration
John Sandfort – Tenor Saxophone
Noel Freidline – Piano
Kevin Smith – Bass
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SEAN JONES’ DIZZY SPELLZ
Trumpeter Sean Jones’ Dizzy Spellz has wowed New York audiences for years with its interpretation of the late, great jazz master Dizzy Gillespie. Armed with a turntablist and the tap dancing Appalachian style of Brinae Ali, Jones and Dizzy Spellz put a new spin on Diz, from his bebop beginnings to his later Afro-Cuban tunes. The band will serve as an amazing kick off to the 2023 Purdue Jazz Festival.
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TIERNEY SUTTON
9x-GRAMMY® Nominated Jazz Vocalist TIERNEY SUTTON received a “Best Jazz Vocal Album” GRAMMY® nod for every project she has released in the last decade. Known for her impeccable voice & imaginative treatments of The Great American Songbook, Sutton is heralded for her abilities as both a jazz storyteller & her ability to use her voice as an instrument. Sutton has headlined The Hollywood Bowl, Carnegie Hall, The Kennedy Center & Jazz at Lincoln Center. She can also be heard on film & television soundtracks, including the Academy Award-Nominated film “The Cooler” as well as on television commercials (BMW, Green Giant, Yoplait Yogurt, Coke). In 2016, she was approached by legendary Director Clint Eastwood. The original score to his box-office smash, “Sully”, was created by Christian Jacob, Tierney Sutton & Eastwood. “A serious jazz artist who takes the whole enterprise to another level,” states the NEW YORK TIMES. “Sutton’s vocal chops and her phrasing are impeccable,” says ALL ABOUT JAZZ.
Showtimes ~ 7;00pm | 9:30pm
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