Stanley Turrentine (tenor sax); Horace Parlan (piano); George Tucker (bass); Al Harewood (drums).
(By Lance)
Delving into the Blue Note back catalogue is, in many ways, like recapturing your youth except that for me the music is as relevant in jazz circles today as Beethoven and co. are to those in their circles.
This particular album is as fine an example of what jazz meant to me in the 1950s. Unlike so many of my jazz associates I have always been able to enjoy and appreciate all forms of pre fire in a pet shop jazz and this album personifies all that was good about the era as well as bringing a few memories to mind.
Stanley
Turrentine was a great tenor player who could hold his own with the best of
them but what crosses my mind is the late Brian Fisher who would refer to him
as Stanley Turpentine. Fisher had a way with names - Charlie Carmichael became
Charlie Comical and Ronnie McLean, Ronnie McClown. He'd also refer to Perry
Como as Perry Coma and Dinah Shore as Dinah Saur although I don't think they
were original Fisherisms.
When Charlie Comical and I were in San Sebastian with the Newcastle Big Band we met up with Horace Parlan at a drinks reception prior to his gig with the Clark Terry Big Band (when I drop names I drop big ones!)
He proved to be a most amenable guy even though he probably wondered in what language these two saxophone players from Jarrow were speaking!
Al Harewood on drums - he gave lessons to David Carnegie in NYC - nuff said!
Another masterpiece from West 47th.
Lance
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