Hustlin [Original recording reissued, Original recording remastered]

Stanley Turrentine | Format: Audio CD

Product Details

• Audio CD (August 27, 2002)
• Original Release Date: 1964
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: Blue Note Records
• ASIN: B00006C77G
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (8 customer reviews)
• Amazon Best Sellers Rank: #85,357 in Music (See Top 100 in Music)
  • #33 in Music > Indie Music > Jazz > Boogaloo

Editorial Reviews

Limited edition Japanese pressing of the 1964 album has been remastered. Bluenote. 2005. --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

Most Helpful Customer Reviews

20 of 21 people found the following review helpful:

5.0 out of 5 stars Turrentine, Scott & Burrell - marvellous!, August 27, 2002

By 

Dr.D.Treharne (Exeter, Devon, United Kingdom) - See all my reviews
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This review is from: Hustlin (Audio CD)

The third of three albums recorded for Blue Note in the space of the year, this one was also credited to Turrentine, where the first "Never let me go" had been credited to Shirley Scott. The extra value here comes from Burrell who had completed an album with Jimmy Smith (Blue Bash) ,the previous July.He is a wonderful conterpoint to Scott's organ style, and she, freed from the constraints of having had to supply bass on the second of the albums (handled beautifully here by Bob Cranshaw) plays with delicate precision and creates her own unique sound. However the album is really made by Turrentine, whose choice of material allows him to oil and embellish all the tracks with his own style of fluid and at times languid tenor sax. My favourite tracks are "Trouble#2", of which there had been a version on the first Blue Note album."Ladyfingers" written by Scott gives her a chance to stretch out, and "Goin Home" (credited here to Anton Dvorak) gives all three frontpersons a chance to play in a restrained blues style.Otis Finch handles the drum duties throughout with empathy. This really is an excellent album, and the remastering is terrific, perhaps a pity that there weren't out-takes that could have been added to extend playing time, perhaps there were none. As ever the Blue Note reissue policy continues to bewilder - not quite sure why THIS album, now, welcome though it is. If it leads you to check out the aforementioned "Blue Bash", then good, but this is a recommended listen in its own right.

6 of 6 people found the following review helpful:

5.0 out of 5 stars Searing Soul!!, February 2, 2008

By 

Beverly Praiswater - See all my reviews
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This review is from: Hustlin (Audio CD)

The scorching sax of Stanley Turrentine with the funkiness of Shirley Scott at the organ and the addition of the master guitarist Kenny Burrell is a combination that has no equal. This session sounds like it was recorded in a club instead of a studio. The tracks are loose and the musicians are hot. Although this is "Stan's album", an ample amount of play is given to each of these fine musicians. This uplifting session has it all for those who enjoy the "back to basics" type of classic jazz.

7 of 8 people found the following review helpful:

4.0 out of 5 stars Groovy!, August 24, 2004

By 

Andrew Stevenson "Drew" (Union Springs, New York) - See all my reviews
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This review is from: Hustlin (Audio CD)

Tenor saxophonist Stanley Turrentine joined organist Jimmy Smith for some of the greatest organ / tenor sax recordings ever made. But Turrentine also recorded some very fine albums with his then wife, the organist Shirley Scott. Turrentine and Scott are joined on "Hustlin'" by Kenny Burrell (another major contributor to the Jimmy Smith discography,) bassist Bob Cranshaw, and drummer Otis Finch. Scott's touch and tone are lighter than Smith's, but her playing holds its own with her husband's full-toned tenor. Every cut on this CD grooves. I especially liked "Love Letters" and "Goin' Home." As I listened to the latter I kept thinking, 'This song sounds so familiar, but its title doesn't ring any bells.' Then I read the liner notes and found out that it is the traditional African American melody that composer Antonin Dvorak used for the second movement of his "New World Symphony!"