danasgoodstuff

Puccini estate - that's what I remember.

Turandot was Japan only, IIRC. I've never seen a copy anywhere.

If I was going to get one, it would likely be Cherry for the cover of Lee Morgan's "Speedball". I own a few things on the label, but I'm not much of a fan overall. Like I said, I have all of Turrentine's leader and sideman dates for BN as well as some sideman dates on Impulse, Prestige, and Atlantic. Just don't really need those he did on CTI.

Thanks, but no thanks. I've tried his CTI work many times and it's just not for me.

There's a story in the liners to one of his BN albums, about someone else in a territory band arriving late to a shared gig in Texas and the other band is already blowing the place down, not from the bandstand but from on top of the tables all around the room. To my mind Stanley brought the grit that playing those gigs would give you to every situation he played in, no matter how far removed they might be. It's why I own everything he did for BN, even the shmaltzy ones. That said I own precious little of his post BN work. (175) shirley scott - think - YouTube Shirley and Stan getting down on the 5 Royales hit, Think

Makes his Complete Atlantic Recordings box a good way to compare and contrast the various guys in Memphis and Muscles Shoals who are often lumped together and confused...

I think Pickett is the only artist on Atlantic who worked with every R&B/Soul session band they used during the period he was on the label - Atlantic's guys in NY, Stax, the hybrid Fame/American group, American Sound in Memphis, Muscle Shoals after they broke free of Fame, Philly, Criteria in Fla.

I like most of Sonny's '80s output too. And think he got even better in the '90s.

Record Store Day goodies

I've never liked Live/Evil - the editing choices strike me as just perverse and to no good effect. And there certainly are other parts of the catalog where I think Teo worked miracles and should have gotten composer credits. I have the Cellar Door box and prefer the sets without McLaughlin. On the Corner was the biggest WTF for me in that period. I wouldn't say I disliked it, just couldn't even begin to process it to form an opinion. Big Fun was a relief after that. Get Up With It has some great moments and a lot of variety.

Since BN is reissuing her album Twenty One on vinyl on 4/15, hopefully she won't be forgotten. Best pianist of her generation? If there is such a thing, it's her.

When Elephants Dream... is a truly extraordinary thing.

That would've been nice too, but Clifford wasn't on BN by the time Cherry was there. Art Deco from years later with James Clay, is a successful more mainstream Cherry album.

The Dells' longer, second recording of "Stay in My Corner" is truly epic. Many blues 'n rock fans don't realize the extent to which they were carrying Chess towards the end. (153) Stay In My Corner - YouTube

I'm relistening to Sophisticated Giant. I quite like this mid-sized outing. Opening with Laura seems like an odd choice though. (151) Dexter Gordon and Sonny Stitt: 1962 Rare Session - YouTube I really would like to hear this whole session with Dexter and Sonny, what Alfred thought at the time is largely beside the point to me.

The Getz is lovely. 80 Degrees Below '82 is a strong album, I think of it as a companion piece to Air Lore because of the Morton piece.

Sort of, between the two of them they have most of these four related sessions form 1967: 1967 Stanley Turrentine Donald Byrd, trumpet; Julian Priester, trombone; Jerry Dodgion, alto sax, flute; Stanley Turrentine, tenor sax; Joe Farrell, tenor sax, flute; Pepper Adams, baritone sax, clarinet; Kenny Barron, piano; Bucky Pizzarelli, guitar; Ron Carter, bass; Mickey Roker, drums; Duke Pearson, arranger. Van Gelder Studio, Englewood Cliffs, NJ, February 17, 1967 1839 tk.4 She's A Carioca Blue Note BN-LA394-H2, 0946 3 85193 2 4, (J) TOCJ-50277 1840 tk.9 Samba Do Aviao - 1841 tk.14 Manha De Carnaval Blue Note LT-993, 0946 3 85193 2 4 1842 tk.15 What Now My Love - 1843 tk.24 Night Song Blue Note BN-LA394-H2, 0946 3 85193 2 4, (J) TOCJ-50277 1844 tk.32 Here's That Rainy Day Blue Note LT-993, 0946 3 85193 2 4 1845 tk.41 Blues For Del - * Blue Note BN-LA394-H2 Stanley Turrentine * Blue Note LT-993, (J) TOCJ-50277 Stanley Turrentine - New Time Shuffle * Blue Note 0946 3 85193 2 4 Stanley Turrentine - A Bluish Bag Stanley Turrentine Blue Mitchell, Tommy Turrentine, trumpet; Julian Priester, trombone; Jerry Dodgion, flute, alto sax; Pepper Adams, clarinet, baritone sax; Al Gibbons, bass clarinet, tenor sax; Stanley Turrentine, tenor sax; McCoy Tyner, piano; Walter Booker, bass; Mickey Roker, drums; Duke Pearson, arranger. Van Gelder Studio, Englewood Cliffs, NJ, June 9, 1967 1904 tk.16 With This Ring Blue Note 0946 3 85193 2 4 1905 tk.15 Silver Tears - 1906 tk.20 A Bluish Bag - 1907 tk.26 Come Back To Me - 1908 tk.30 Days Of Wine And Roses - 1909 tk.45 Message To Michael rejected * Blue Note 0946 3 85193 2 4 Stanley Turrentine - A Bluish Bag Stanley Turrentine Joe Shepley, Marvin Stamm, trumpet, flugelhorn; Garnett Brown, Julian Priester, trombone; Al Gibbons, alto sax, flute, bass clarinet; Stanley Turrentine, tenor sax; Joe Farrell, tenor sax, flute; Mario Rivera, baritone sax; McCoy Tyner, piano; Bob Cranshaw, bass; Ray Lucas, drums; Duke Pearson, arranger. Van Gelder Studio, Englewood Cliffs, NJ, June 23, 1967 1910 tk.4 Better Luck Next Time Blue Note BN-LA394-H2, 50999 5 17462 2 3, (J) TOCJ-50277 1911 tk.11 Bonita - 1912 tk.14 Return Of The Prodigal Son Blue Note LT-993, (Eu) 7243 4 93991 2 9, 50999 5 17462 2 3 1913 tk.16 Flying Jumbo Blue Note BN-LA394-H2, 50999 5 17462 2 3, (J) TOCJ-50277 1914 tk.27 Ain't No Mountain High Enough Blue Note LT-993, (Eu) 7243 4 93991 2 9, 50999 5 17462 2 3 1915 tk.32 New Time Shuffle Blue Note LT-993, 50999 5 17462 2 3 * Blue Note BN-LA394-H2 Stanley Turrentine * Blue Note LT-993, (J) TOCJ-50277 Stanley Turrentine - New Time Shuffle * Blue Note 50999 5 17462 2 3 Stanley Turrentine - Return Of The Prodigal Son * Blue Note (Eu) 7243 4 93991 2 9 Stanley Turrentine Plays The Pop Hits - Easy! Stanley Turrentine Nonet Blue Mitchell, trumpet; Garnett Brown, trombone; James Spaulding, alto sax, flute; Stanley Turrentine, tenor sax; McCoy Tyner, piano; Duke Pearson, organ, arranger; Bob Cranshaw, bass; Ray Lucas, drums; Richard Landrum, congas, bongos, tambourine. Van Gelder Studio, Englewood Cliffs, NJ, July 28, 1967 1928 tk.3 The Look Of Love Blue Note 50999 5 17462 2 3 1929 tk.14 You Want Me To Stop Loving You Blue Note B1-31883, 50999 5 17462 2 3 1930 tk.18 Dr. Feelgood (alternate take) Blue Note 50999 5 17462 2 3 1930 tk.21 Dr. Feelgood - 1931 tk.34 Up, Up And Away unissued 1932 tk.36 Georgy Girl - 1933 tk.39 A Foggy Day Blue Note CDP 7243 8 29908 2 6 * Blue Note 50999 5 17462 2 3 Stanley Turrentine - Return Of The Prodigal Son * Blue Note CDP 7243 8 29908 2 6 Stanley Turrentine - Easy Walker * Blue Note B1-31883, CDP 7243 8 31883 2 1 Various Artists - The Lost Grooves from jazdisco.org which basically replicates Cuscuna's BN discography Nice sessions and hopefully someday they'll be reissued along with the 45rpm single session from 1968 to get all of Stan's work for BN out there: 1968 Stanley Turrentine Orchestra Burt Collins, Marvin Stamm, trumpet, flugelhorn; Garnett Brown, Benny Powell, trombone; Stanley Turrentine, tenor sax; Jerry Dodgion, Joe Farrell, Al Gibbons, reeds; McCoy Tyner, piano; Everett Barksdale, guitar; Bob Cranshaw, bass; Grady Tate, drums. Van Gelder Studio, Englewood Cliffs, NJ, January 25, 1968 2033 Spooky Blue Note 45-1936, B1-31883, (Eu) 7243 4 93991 2 9 2034 Elusive Butterfly Blue Note (Eu) 7243 4 93991 2 9 2035 Love Is Blue Blue Note 45-1936 2036 When I Look Into Your Eyes unissued * Blue Note (Eu) 7243 4 93991 2 9 Stanley Turrentine Plays The Pop Hits - Easy! * Blue Note B1-31883, CDP 7243 8 31883 2 1 Various Artists - The Lost Grooves * Blue Note 45-1936 Stanley Turrentine - Spooky / Love Is Blue

It's a can of worms, to be sure. But it's there and seems unavoidable in comparing these two.

Dexter has more soul, how is that not obvious? Ironic since Sonny's the one who made Soul Jazz records, but the're largely pro forma and Dex playing ballads is way more soulful.

I wouldn't count on that, just because you don't know about it. If working in record stores has taught me anything, it's that there's a devoted fandom for darn near everything and critical analysis has darned little to do with it. People line things up and group them in all kinds of wonderfully weird ways.

That's certainly what it looks like to me.

CD box

I may have mentioned that I met Julius once. It was a bit weird - I was writing for City Pages in the Twinn Cities and drove him and some hanger on around for the day before a performance, bought them both lunch so I definitely lost money on the deal. He didn't want to talk about leaving the WSQ or losing his leg - both too painful I guess. Whatever. The International Phonograph reissue of Dogon A.D. is a beautiful thing and so is Diminutive Mysteries and the big band thing with Frisell among many others.

Yes. Or no. Depending.

I get that, it was the terminology that threw me.