Customer Reviews

Hustlin

5 star:		(4)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

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!"

These are wonderful times for music lovers who were too young or not yet born when some of these old albums were originally issued on vinyl. With the orgy of remastering precipitated by internet demand, we can now easily obtain many obscure and long out of print albums that previously we had little hope of finding.
I was a fan of Stanley Turrentine back in his CTI days but when he followed other jazzmen like George Benson to disco and easy-listening soul/jazz I quickly lost interest in him. But now that his back catalogue is being reissued, I find my interest rekindled and have a strong desire to hear his pre-CTI work.
Hustlin' is just one of the many. I picked it on whim and was dazzled the first time I played it through. This is the REAL smooth jazz, not the pop-jazz that is today sneeringly labeled "smooth jazz".
My favorites here are the first three cuts. Trouble (No. 2) finds Turrentine and his combo delivering a sophisticated rendering of an old standard. Love Letters is imbued with a soft romance that just carries the listener away. And The Hustler is in the style I like, where no one player dominates and each has a contribution to the whole that isn't overshadowed by the others.
Hustlin' is just one of many Turrentine reissues I will be getting. If the suave style of jazz prevalent in the late 50s and early 60s appeals to you, then this CD should be in your collection. You won't regret buying it and the price can't be beat!

Superb as it is, give this a wide berth if you are in anyway ambivalent to organ music. Shirley Scott, formidable talents aside, can, for those not disposed to the funky wonders of organ jazz, summon up images of rinky dink skating rink music, far more than most. With a bassist playing on most of her classic sessions, her sound is certainly unique, always swinging, melodious and easy on the bass pedals. Bob Cranshaw, guitar by Kenny Burrell and drums by Otis Finch, all equally stylish additions to any recording, handles those tasks. With the bluesy, effortless irreplaceable tenor saxophone of Scott's then husband Stanley Turrentine added to the mix, the result is a hard bop classic

An Awesome Album. Turrentine and gang just keep cookin' throughout. I bought this album because I am a huge fan of Kenny Burrell. I also found out how under-rated Shirley Scott is. She has quickly become my favorite organ player. She is just so funky. It's a combination that is so felicitous-like baby's porridge.

This CD is from an era and of the style that I simply love. The other reviewers have given wonderful, in-depth information about the history of Mr. Turrentine and of this style of jazz. So I will just share how it makes me feel.

When I pop this into the CD player while driving, it makes me wish that I had a convertible and was breezing along a country road after a rain. It makes me smile and nod my head in rhythm. I've found that because it makes me smile, I automatically smile at other drivers, and they can't help but to return it.

Soothe your frazzled nerves, listen to this with a special someone and a glass of wine out on the patio or balcony, and life will be good. :-)

Like Never Let Me Go, which was recorded about a year earlier, this is a collaboration with Stan's then-wife, organist, Shirley Scott. And like the earlier album, it opens with Lloyd Price's "Trouble". Right off the bat, you get the feeling that this album will sound totally different from its predecessor. For one, it doesn't have that late-night feel - this is more like the album you'd put on at a jazz party, or maybe while driving. The rhythm section here is obviously heavier - to my ears that's a plus. Otis Finch is a chunky drummer, and Bob Cranshaw was great pretty much anywhere.

The real magic ingredient, though, is guitarist Kenny Burrell. It's hard for me to think of any guitarist I'd rather hear with a 60s organ ensemble. He's smooth and sophisticated, gritty and earthy, all at the same time. Stan's playing is wonderfully soulful.

I wouldn't quite put this in the 1st tier of Stan albums, though maybe over time my assessment it will improve. I certainly prefer it to Never Let Me Go.