Note From Dada!
Στη χρονιά που σε λίγο μας τελεύει η Soul Jazz Records εξέδωσε τρεις συλλογές με επίκεντρο την Bossa και τα "μουσικά παρακλάδια" της (εστιάζοντας -φυσικά- στις βραζιλιάνικες γεωγραφικές συντεταγμένες).
Η πρώτη αφορά την Bossa Nova και την "άνθηση" της βραζιλιάνικης μουσικής στη δεκαετία του 1960 και η δεύτερη (επίσης με επίκεντρο το δημοφιλές μουσικό ρεύμα της βραζιλιάνικης μουσικής) είναι μια πολύ καλή ανθολογία επικεντρωμένη στο label της Elenco Records.
Η τρίτη και τελευταία (και πολύ πρόσφατη-Νοέμβριος 2011) διπλή συλλογή της εταιρείας "εξιστορεί" την εξέλιξη και ανάμειξη της βραζιλιάνικης μουσικής με τα ρεύματα της jazz (κυριώς...) και του fusion.
N'Joy! Σας φιλώ στο μόντεμ! Radiodada
ΥΓ. Με την πρώτη ευκαιρία θα ποστάρω και τις δύο πρώτες συλλογές αυτής της σειράς.
Μία επανέκδοση της Jazzman Records για την συνέχεια με ένα δισκάκι του Τζαμαϊκανού μπασίστα Boris Gardiner. Ένα απ' τα πολύ σπάνια Lp το οποίο αν δεν με απατούν οι διαδικτυακές μου "πηγές" κυκλοφόρησε μόνο σε 1500 αντίτυπα από την μικρή και άγνωστη Leal Records. Προσωπικά τον εν λόγω καλλιτέχνη αλλά και δίσκο γνώρισα πριν κάμποσα χρονάκια όταν βρέθηκε στα χέρια μου η πολύ καλή συλλογή της Blood & Fire με τίτλο "Darker Than Blue-Soul From Jamdown 1973-1977" (κλικ εδώ) η οποία ανοίγει με το εξαιρετικό "Ghetto Funk" το οποίο άλλωστε σας ποστάρω για μία πρόγευση στο παρακάτω βιντεάκι. Οι μουσικές και τα τραγούδια του δίσκου θα μπορούσε να πει κανείς ότι είναι "χωρισμένα" σε δύο βασικές κατηγορίες. Σ' αυτά που "πατούν" στην τζαμαϊκάνικη μουσική (εννοώντας κυρίως τη reggae) και σ' εκείνα που ανήκουν στην soul & funk σκηνή (φυσικά αρκετές στιγμές στον δίσκο ανακατεύονται μεταξύ τους). Προσωπικά έχω μία προτίμηση στα κομμάτια της δεύτερης "κατηγορίας" και ιδιαίτερα στα instrumental θέματα του album: Funky Nigger, Negril (και στο προαναφερόμενο φυσικά Ghetto Funk) ενώ η ακουστική version του ομώνυμου "Every Niger Is A Star" είναι μία εξαιρετική soul μπαλάντα με τον Gardiner στο ρόλο του ερμηνευτή και τον Ivor Lindo στην κιθάρα. Η ενορχηστρωμένη έκδοση του τραγουδιού μαζί με το "Gheto Funk" ήταν άλλωστε και τα δύο πρώτα κομμάτια που κυκλοφόρησαν από αυτόν το δίσκο σε ένα σιγκλάκι στα τέλη του 1973 (ή αρχές του 1974...παίζεται...)
Boris Gardiner - Ghetto Funk
Πολύ ενδιαφέρουσα επίσης είναι και η ιστορία της ταινίας.
Καταρχήν να παραθέσω μερικά πράγματα που συνέλεξα στο διαδίκτυο για τον σκηνοθέτη αυτής της "μυστηριώδους" ταινίας (και θα εξηγήσω παρακάτω γιατί την αποκαλώ έτσι) τον Calvin Lockhart - ο οποίος όμως έγινε γνωστότερος απ' τις υποκριτικές και όχι απ' τις σκηνοθετικές του ικανότητες. Το 1970 (συμ)πρωταγωνιστούσε με τον Jeff Bridges παρακαλώ(!) στο "Hall Of Anger" (εδώ μία τηλεοπτική τζούρα) μία ταινία με θέμα την φυλετική διαμάχη που ξεσπάει σε ένα σχολείο μεταξύ μαύρων και λευκών στην οποία ο Lockhart υποδύεται τον καθηγητή "Quincy Davis". Επίσης έπαιξε και σε αρκετές blaxploitation ταινίες όπως το "Cotton Comes To Harlem" (επίσης του 1970)(κλικ εδώ) και στα "Let's Do It Again" (1975)(κλικ εδώ) και "Updown Saturday Night" (1974) όπου τον πρωταγωνιστικό ρόλο της ταινίας είχε ο Sidney Poitier (στη δεύτερη παρέα με τον Bill Cosby)(κλικ εδώ). Κι αφού η κουλτούρα των 70's μας τέλεψε o Lockhart έκανε ένα "καλό τηλεοπτικό μπανάκι" με το σαπούνι της "Δυναστείας" στις αρχές φυσικά του 80. (κλικ εδώ). Τέλος να μην παραλείψω ότι είχε επίσης ένα μικρό ρόλο στο "Twin Peaks" του David Lynch.
Και τέλος μερικές πληροφορίες για την ταινία "Every Νiger Is A Star" και την σκηνοθετική ιδιότητα του Lockhart. To 1972 ο Lockhart επισκέπτεται την Τζαμαϊκα για να συναντήσει όπως υποστηρίζει τον "τζαμαϊκάνικό ερωτά του" αλλά τελικά (όπως συμβαίνει σ' αυτές τις ιστορίες) έμεινε για αρκετά χρόνια στο νησί. Κάπου εκεί λοιπόν στις αρχές του 70 ο σκηνοθέτης προσεγγίζει τον Gardiner για να του αναθέσει την σύνθεση του soundtrack της ταινίας της οποίας όμως το σενάριο κάθε άλλο παρά συγκεκριμένο ήταν. O Lockhart φέρεται να περιέγραψε την πλοκή της ταινίας στο Gardiner λέγοντάς του ότι η ταινία καταπιάνεται με την καθημερινότητα ενός άντρα ο οποίος όμως κάποια στιγμή αποφασίζει να βρει τον ευατό του και βρεθεί σε μία συνάντηση Rastafarians η οποία θα λάμβανε χώρα σε κάποιους λόφους (!) (μια ακόμα περίτραννη απόδειξη ότι ακόμα και τα ναρκωτικά στα 70s ήταν πολύ καλύτερα συγκριτικά με τα σημερινά). Όπως και να χει το πράγμα ο Gardiner βασιζόμενος έστω στις ελάχιστες πληροφορίες και το αρκετά "ομιχλώδες" σενάριο που του έδωσε ο Lockhart ξεκινάει να γράφει τη μουσική παρέα με τον αδερφό του Barrington. Η ταινία όμως καθυστερήσε υπερβολικά να προβληθεί στις αίθουσες με αποτέλεσμα όχι μόνο να κυκλοφήρησε το 45άρι που προανέφερα αλλά όλος ο full lenght δίσκος πριν καν προβληθεί η ταινία!
Μετά από αρκετό καιρό και έχοντας δημιουργήσει στο τοπικό κοινό ένα "μύθο" γύρω απ΄το πολυαναμενόμενο και αρκετά διαφημισμένο film - η ταινία τελικά προβάλλεται αλλά πηγαίνει άπατη και πιο συγκεκιρμένα δύο μέρες μετά την πρεμιέρα και οι τρεις κινηματογράφοι όπου προβαλλόταν η ταινία ήταν παντελώς άδειοι. O Gardiner μιλάει για την ταινία με αρκετά (κατατο)πιστικό τρόπο: "Δεν ήταν μόνο το γεγονός ότι η ταινία δεν ήταν ωραία. Δεν είχε πλοκή! Θύμιζε πιο πολύ ένα ντοκυμαντέρ για τους Rastafarians παρά ταινία. Ήταν απλά αποτυχία!".
Αυτά με την ταινία την οποία αποκάλεσα "μυστηριώδη" καθώς δεν γνωρίζω κανέναν να έχει δει έστω κάποιες σκηνές από αυτή, ούτε αν κυκλοφορεί κάποια κόπια ή επανέκδοσή της (χλωμό το κόβω) ή αν τέλος πάντων υπάρχει οπτικό υλικό έστω κάπου στο διαδίκτυο. Σε περίπτωση πάντως που κάποιος γνωρίζει κάτι παραπάνω για το film θα χαρώ να μου αφήσει κάποιο σχόλιο.
Καλή συνέχεια και καλή ακρόαση.
Σας φιλώ στο μόντεμ!
About Boris Gardiner
Boris Gardiner (born 13 January 1943, Kingston, Jamaica) is a Jamaican singer, songwriter and bass guitarist.
Gardiner performed on the tourist circuit for much of the 1960s and was a member of Carlos Malcolm & the Afro Caribs and Byron Lee's Dragonaires. In the late 1960s and 1970s he worked extensively as a session musician as a member of the Now Generation, The Upsetters, The Aggrovators, and The Crystallites.
Gardiner as a solo artist had a chart hit with the song "Elizabethan Reggae" in 1970, a version of Ronald Binge's "Elizabethan Serenade". Actually, he nearly did not appear at all. The story about his first hit is that, when it was released in the UK, the first copies were printed with the label incorrectly identifying Byron Lee as the performer. The reality was that he was the instrumental track's record producer. The UK Singles Chart for the first entry, and the subsequent first four weeks of its re-entry into the charts all reprinted this error. However, all charts and discs printed after 28 February 1970, duly gave Boris Gardiner the credit he deserved.
His debut album Reggae Happening was also released in 1970 and (although it did not make the pop chart) "sold respectably for a reggae LP" in the UK, according to music journalist Ian McCann. Although Gardiner continued to be successful in Jamaica, he had no more hits in the UK during that decade.
However, in 1986 he recorded the single, "I Want to Wake Up with You", a surprise UK Number One, which spent two months in the Top Ten. The accompanying album, Everything to Me also included the follow-up hit, "You're Everything to Me" (which just missed out being another Top 10 entry, when it peaked at Number 11). The single "The Meaning of Christmas" was also released later that year.
Later, Gardiner signed to RCA Records.
In 2002, a twenty two track anthology, The Very Best of Boris Gardiner was issued on CD by Music Club.
About Calvin Lockhart
Until very recently, there were few black actors in a white-dominated society who were not faced with difficult choices and obstacles. The Bahamas-born Calvin Lockhart, who has died following complications from a stroke aged 72, was no exception. The handsome, charismatic Lockhart, who had classical acting training and who spoke French, German, Italian and Spanish, was mainly forced to take roles that he disliked.
At the start of the 1970s, more than two decades after the birth of the modern civil rights movement, America's 20 million black citizens wanted a more positive media image of themselves. In the meantime, they had to settle for broad comedies and slick thrillers, labelled "blaxploitation". These films became more formulaic as the 1970s progressed - most of them were either "private detective takes on the mob" or "dealer becomes king of the pimps".
According to Lockhart's widow, New York interior designer Jennifer Miles-Lockhart, her husband felt that he did not get enough dramatic roles with "meaning, content, which would make a statement. Calvin felt that he wanted to be somewhere where skin colour didn't matter, where he could do his craft freely, on a high level."
Nevertheless, whatever the quality of the blaxploitation movies, they were directed by black directors and starred black actors, playing characters not seen from a white perspective. Lockhart appeared in one of the first black - as distinct from noir - thrillers, Cotton Comes to Harlem (1970), directed by Ossie Davis. He was the swindler-cum-preacher Reverend Deke O'Malley, who has conned $87,000 from the "good folks" for his phony Back to Africa movement.
Lockhart played suave gangsters called Silky Slim and Biggie Smalls respectively in Sidney Poitier's Uptown Saturday Night (1974) and Let's Do It Again (1975). At least, Melinda (1972), directed by Hugh Robertson, the first African-American editor to be nominated for an Oscar, gave Lockhart the chance to play a super-hero, an egotistic disc jockey who has to take on the mobsters who had murdered his girlfriend.
In the same year, Lockhart was invited to join the Royal Shakespeare Company at Stratford-upon-Avon, where he appeared in several plays, notably Buzz Goodbody's production of Titus Andronicus in which, as Aaron the Moor, he asks "is black so base a hue?" and launches into a defence of his colour.
Lockhart had already spent almost five years in England (1965-1970), where he had appeared in TV dramas, such as the Wednesday Play and five British films in 1968: A Dandy in Aspic, The Mercenaries, Only When I Larf, Nobody Runs Forever and Joanna. In the last, directed by Mike Sarne, which also featured Donald Sutherland as a dying English aristocrat, Lockhart, as a nightclub owner was one of the first actors to dent a cinematic taboo with a black-white love scene with the heroine, Genevieve Waite.
Sarne then cast him as the effete Irving Amadeus in the disastrous Myra Breckinridge (1970), and he played a pimp in John Boorman's Leo the Last (1970), before returning to the US to star in Halls of Anger, (also 1970). The setting of this was an all-black blackboard jungle which, because of the national integration plan, has to accept 60 white students who suffer the kind of racism that usually affects black people. However, Lockhart, cast as a teacher, solves all the school's problems by his liberal approach. Despite the theme he disliked making the film and walked off the set more than once.
Lockhart, born Bert Cooper, the youngest of eight children, had left the Bahamas aged 19 to study engineering at New York, but became involved in a YMCA theatre group, and studied with the legendary drama coach Uta Hagen. He made his Broadway debut, taking over from Billy Dee Williams, in Shelagh Delaney's A Taste of Honey, in the role of the sailor who gets the white girl (Joan Plowright) pregnant. He returned to the stage only rarely between Broadway and his stint with the RSC.
During his second stay in England, Lockhart was given one of his best film roles in The Beast Must Die (1974) as the millionaire owner of a country estate where he has gathered a number of people, one of whom he hopes to reveal as a werewolf. It was enjoyable, camp nonsense, but it did feature a rich, successful black man, whose colour is never mentioned, a rare phenomenon in films of the early 1970s. Another potentially interesting part was in The Baron (1977), where Lockhart played a struggling African-American film-maker who turns to the underworld to raise money. However, the film descended into many of the cliches of blaxploitation gangster movies.
A couple of years later, Lockhart suffered a heart attack brought on by the news that his son from a former marriage (he was married four times) had lost the use of his legs from jumping under a train. But he returned to work, albeit in a minor capacity. He was in seven episodes as Jonathan Lake in TV's Dynasty (1985-86), was the head of a Jamaican voodoo-gang in Predator 2 (1990), and had small roles in David Lynch's Wild at Heart (1990) and Twin Peaks (1992).
In 1979, Calvin met Jennifer Miles in New York, and they had a son in 1981. They married in 2006: she survives him, as do his other two sons and a daughter.
Calvin Lockhart (Bert Cooper), actor, born September 18 1934; died March 29 2007
Note From Dada!
Μία ακόμα έκδοση από την Analog Africa (Νο.9) όχι τόσο πρόσφατη (για την ακρίβεια περσινή κυκλοφορία)η οποία όμως είναι "απαραίτητη" για συνεχίσω ποστάροντας με τη σειρά την επόμενη κυκλοφορία της το "Bambara Mystic Soul" (No.10). Οπότε "Stay Tuned!
Αν έχω λοιπόν μια αδυναμία στην Αfro-beat/Αfro-funk σκηνή τότε η "λατινόπληκτη" μουσική της Δυτικής Αφρικής είναι ένα απ' τα μεγάλα μου μουσικά κολλήματα και αυτή η συλλογή έγινε πολύ γρήγορα ένα απ' τα πιο αγαπημένα μου δισκάκια του είδους. Κατά την ταπεινή μου άποψη αυτή και η προηγούμενη έκδοση το Afro-Beat Airways West African Shock Waves Ghana & Togo 1972-1978 είναι οι δύο καλύτερες εκδόσεις της εταιρείας και από την άποψη των επιλογών αλλά (αφού μιλάμε για συλλογές) και από την άποψη της ροής των κομματιών.
Note From Dada!
Συνέχεια με μια λιγότερο πρόσφατη έκδοση (Απρίλιος 2011) συγκριτικά με την προηγούμενη της Soul Jazz Records. Ταξιδάκι λοιπόν στην Γκάνα με μία επανέκδοση της Analog Africa ενός εξαιρετικού Afro-Beat δίσκου. Album του 1977 με πρωταγωνιστή -έναν απ' τους "αινιγματικότερους" γκανέζους μουσικούς όπως ανεφέρεται και στις σημειώσεις του δίσκου- τον Rob "Roy" Raindorf.
Στις επόμενες αναρτήσεις θα κινηθούμε λίγο εκτός κλίματος και εποχής καθώς προσφάτως βρέθηκαν στα χέρια μου κάποιες αρκετά φρέσκιες συλλογές που κατά τη γνώμη μου όμως είναι περισσότερο για θερινές ακροάσεις. Επειδή όμως το καλοκαίρι είναι πολύ μακρία και κανείς δεν εγγυάται βέβαια ότι θα είναι και "καλό"... στη βράση κολλάει το σίδερο.
Μία εξ ' αυτών λοιπόν των συλλογών είναι και η τελευταία κυκλοφορία της Soul Jazz Records με μία ακόμα έκδοση με ηχογραφήσεις απ' το θρυλικό "Studio One" εδώ απ' την περίοδο 1963-1980. "Κλασικά ηχογραφημένα" δηλαδή... με τους συνήθης ύποπτους Skatalites, Heptones, Horace Andy, Pablove Black και πάει λέγοντας... Μία ακόμα εξαιρετική "Studio One" συλλογή απ΄την οποία απομόνωσα το πανέμορφο "Let Me Hold You Tight" της Marcia Griffiths. Ν' joy!
Wes Montgomery & The Wynton Kelly Trio - Four On Six
Wes Montgomery : Κιθάρα
Wynton Kelly: Πιάνο
Paul Chambers: Κοντραμπάσο
Jimmy Cobb: Τύμπανα
About Wes Montgomery
John Leslie "Wes" Montgomery (6 March 1925 - 15 June 1968) was an American jazz guitarist. He is generally considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino and Pat Metheny.
Montgomery was born in Indianapolis, Indiana. He came from a musical family; his brothers, Monk (string bass and electric bass) and Buddy (vibraphone and piano), were jazz performers. Although he was not skilled at reading music, he could learn complex melodies and riffs by ear. Montgomery started learning guitar at the age of 19, listening to and learning recordings of his idol, the guitarist Charlie Christian. He was known for his ability to play Christian solos note for note and was hired by Lionel Hampton for this ability.
Montgomery is often considered the greatest of modern jazz guitarists. Following the early work of swing/pre-bop guitarist Charlie Christian and gypsy-jazz guitarist Django Reinhardt, Wes arguably put guitar on the map as a bebop or post-bop instrument. Although Johnny Smith was the guitarist in the original New York Bebop scene, and both Tal Farlow and Jimmy Raney made significant contributions in the 1950's to bebop guitar, each of these men curtailed their own output in the 1960s, creating a vacuum that Montgomery naturally filled with virtuousic playing. While many Jazz players are regarded as virtuosos, Montgomery was unique in his wide influence on other virtuosos who followed him, and in the respect he earned from his contemporaries. To many, Montgomery's playing defines jazz guitar and the sound that many try to emulate.
Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a recording contract with Riverside Records. Adderly later recorded with Montgomery on his Pollwinners album. Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis.
John Coltrane asked Montgomery to join his band after a jam session, but Montgomery continued to lead his own band. Boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith. Jazz purists relish Montgomery's recordings up through 1965, and sometimes complain that he abandoned hard-bop for pop jazz towards the end of his career, although it is arguable that he gained a wider audience for his earlier work with his soft jazz from 1965-1968. During this late period he would occasionally turn out original material alongside jazzy orchestral arrangements of pop songs. In sum, this late period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings.
Wes Montgomery died of a heartattack on June 15, 1968 in Indianapolis, Indiana, USA.
About Wynton Kelly
Wynton Kelly (December 2, 1931 – April 12, 1971) was a Jamaican-born jazz pianist, who spent his career in the United States. He is perhaps best known for working with trumpeter Miles Davis from 1959-1962.
Son of Jamaican immigrants, Kelly was born in Jamaica, and started his professional career as a teenager, initially as a member of R&B groups. After working with Lee Abrams, Cecil Payne, Dinah Washington and Dizzy Gillespie, he was a member of Miles Davis' Quintet from 1959 to 1963. He appears on Davis' seminal 1959 album Kind of Blue, replacing Bill Evans on the track "Freddie Freeloader". He likewise appears on a single track from John Coltrane's Giant Steps, replacing Tommy Flanagan on "Naima".
He recorded 14 titles for Blue Note in a trio (1951), and worked with Washington, Gillespie, and Lester Young during 1951-1952. After serving in the military, he worked with Washington (1955–1957), Charles Mingus (1956–1957), and the Dizzy Gillespie Big Band (1957), but he would be most famous for his stint with Miles Davis (1959–1963), recording such albums with him as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio.
Kelly recorded as a leader for Blue Note, Riverside Records, Vee-Jay, Verve, and Milestone. Kelly had a daughter, Tracy, in 1963, with partner Anne. The track, "Little Tracy", from the LP Comin' in the Back Door, is named after Kelly's daughter. Tracy Matisak is a now a Philadelphia television personality.
Kelly's second cousin, bassist Marcus Miller, also performed with Miles Davis in the 1980s and 1990s.
Kelly died in Toronto, Canada, from an epileptic seizure in April 1971.
Cannonball Adderley: Άλτο Σαξόφωνο
Nat Adderley: Κορνέτα
Joe Zawinul: Πιάνο
Herbie Lewis: Μπάσο
Roy McCurdy: Τύμπανα
About Cannonball Adderley
Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the hard-bop era of the 1950s and 1960s.
Adderley is remembered for his 1966 single "Mercy Mercy Mercy", a crossover hit on the pop charts, and for his work with trumpeter Miles Davis, including on the epochal album Kind of Blue (1959). He was the brother of jazz cornetist Nat Adderley, a longtime member of his band.
Originally from Tampa, Florida, Adderley moved to New York in the mid-1950s. His nickname derived originally from "cannibal," a honorific title imposed on him by high school colleagues as a tribute to his fast eating capacity.
His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.
Prior to joining the Miles Davis band, Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group.
Adderley joined the Miles Davis sextet in October 1957, three months prior to John Coltrane's return to the group. Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans's time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?.
His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records.
The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Adderley's first quintet was not very successful; however, after leaving Davis' group, he formed another, again with his brother, which enjoyed more success.
The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups, included such noted musicians as:
pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, George Duke, Wynton Kelly, Bill Evans
bassists Ray Brown, Sam Jones, Walter Booker, Victor Gaskin
drummers Louis Hayes, Roy McCurdy
saxophonists Charles Lloyd, Yusef Lateef.
The sextet was noteworthy towards the end of the 1960s for achieving crossover success with pop audiences, but doing it without making artistic concessions.
By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter. In that same year, his quintet appeared at the Monterey Jazz Festival in California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me, starring Clint Eastwood. In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.
Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts.
Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas, '60, & Xi Omega chapter, Frostburg State University, '70) and Alpha Phi Alpha (Beta Nu chapter, Florida A&M University).
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame.
Joe Henderson: Τενόρο Σαξόφωνο
Mike Lawrence: Τρομπέτα
Herbie Hancock: Πλήκτρα
Ron Carter: Μπάσο
Jack DeJohnette: Τύμπανα
About Joe Henderson
Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than forty years Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note.
From a very large family with five sisters and nine brothers, Henderson was born in Lima, Ohio, and was encouraged by his parents and an older brother James T. to study music. He even dedicated his first album to them "for being so understanding and tolerant" during his formative years. Early musical interests included drums, piano, saxophone and composition. According to Kenny Dorham, two local piano teachers who went to school with Henderson's brothers and sisters, Richard Patterson and Don Hurless, gave him a knowledge of the piano. He was particularly enamored of his brother's record collection. It seems that a hometown drummer, John Jarette, advised Henderson to listen to musicians like Lester Young, Stan Getz, Dexter Gordon and Charlie Parker. He also liked Flip Phillips, Lee Konitz and the Jazz at the Philharmonic recordings. However, Parker became his greatest inspiration. His first approach to the saxophone was under the tutelage of Herbert Murphy in high school. In this period of time, he wrote several scores for the school band and rock groups.
By eighteen, Henderson was active on the Detroit jazz scene of the mid-'50s, playing in jam sessions with visiting New York stars. While attending classes of flute and bass at Wayne State University, he further developed his saxophone and compositional skills under the guidance of renown teacher Larry Teal at the Teal School of Music. In late 1959, he formed his first group. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Classmates Yusef Lateef, Barry Harris and Donald Byrd undoubtedly provided additional inspiration. He also studied music at Kentucky State College.
Shortly prior to his army induction in 1960, Henderson was commissioned by UNAC to write some arrangements for the suite "Swings and Strings", which was later performed by a ten-members orchestra and the local dance band of Jimmy Wilkins.
He spent two years (1960–1962) in the U.S. Army: firstly in Fort Benning, where he even competed in the army talent show and won the first place, then in Fort Belvoir, where he was chosen for a world tour, with a show to entertain soldiers. While in Paris, he met Kenny Drew and Kenny Clarke. Then he was sent to Maryland to conclude his draft. In 1962, he was finally discharged and promptly moved to New York. He first met trumpeter Kenny Dorham, an invaluable guidance for him, at saxophonist Junior Cook's place. That very evening, they went see Dexter Gordon playing at the Birdland. Henderson was asked by Gordon himself to play something with his rhythm section; needless to say, he happily accepted.
Although Henderson's earliest recordings were marked by a strong hard-bop influence, his playing encompassed not only the bebop tradition, but R&B, Latin and avant-garde as well. He soon joined Horace Silver's band and provided a seminal solo on the jukebox hit "Song for My Father". After leaving Silver's band in 1966, Henderson resumed freelancing and also co-led a big band with Kenny Dorham. His arrangements for the band went unrecorded until the release of Joe Henderson Big Band (Verve) in 1996.
From 1963 to 1968, Joe appeared on nearly thirty albums for Blue Note, including five released under his name. The recordings ranged from relatively conservative hard-bop sessions (Page One, 1963) to more explorative sessions (Inner Urge and Mode for Joe, 1966). He played a prominent role in many landmark albums under other leaders for the label including most of Horace Silver's swinging and soulful Song For My Father, Herbie Hancock's dark and densely orchestrated The Prisoner, Lee Morgan's hit album The Sidewinder and 'out' albums with pianist Andrew Hill (Black Fire 1963 and Point of Departure, 1964) and drummer Pete La Roca (Basra, 1965).
In 1967, there was a notable, but brief, association with Miles Davis's quintet featuring Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams, although the band was never recorded. Henderson's adaptability and eclecticism would become even more apparent in the years to follow.
Signing with Orrin Keepnews's fledgling Milestone label in 1967 marked a new phase in Henderson’s career. He co-led the Jazz Communicators with Freddie Hubbard from 1967-1968. Henderson was also featured on Hancock's Fat Albert Rotunda for Warner Bros. It was during this time that Henderson began to experiment with jazz-funk fusion, studio overdubbing, and other electronic effects. Song and album titles like Power To the People, In Pursuit of Blackness, and Black Narcissus reflected his growing political awareness and social consciousness, although the last album was named after the Powell and Pressburger film of 1947.
After a brief association with Blood, Sweat & Tears in 1971, Henderson moved to San Francisco and added teaching to his résumé. He continued to record and perform as always, but seemed to be taken for granted by jazz audiences.
Though he occasionally worked with Echoes of an Era, the Griffith Park Band and Chick Corea, Henderson remained primarily a leader throughout the 1980s. An accomplished and prolific composer, he began to focus more on reinterpreting standards and his own earlier compositions. Blue Note attempted to position the artist at the forefront of a resurgent jazz scene in 1986 with the release of the two-volume State of the Tenor recorded at the Village Vanguard in New York City. The albums (with Ron Carter on bass and Al Foster on drums) revisited the tenor trio form used by Sonny Rollins in 1957 on his own live Vanguard albums for the same label. Henderson established his basic repertoire for the next seven or eight years, with Monk's "Ask Me Now" becoming a signature ballad feature.
It was only after the release of An Evening with Joe Henderson, a live trio set (featuring Charlie Haden and Al Foster) for the Italian independent label Red Records that Henderson underwent a major career change: Verve took notice of him and in the early 1990s signed him. That label adopted a 'songbook' approach to recording him, coupling it with a considerable marketing and publicity campaign, more successfully positioned Henderson at the forefront of the contemporary jazz scene. His 1992 'comeback' album Lush Life: The Music of Billy Strayhorn was a commercial and critical success and followed by tribute albums to Miles Davis, Antonio Carlos Jobim and a rendition of the George Gershwin opera Porgy and Bess.
On June 30, 2001, Joe Henderson died due to heart failure after a long battle with emphysema.
Note From Dada! Ακόμα κι αν δεν έχει τύχει να ακούσει κανείς το συγκεκριμένοδισκάκι του Lonnie Smith (πράγμα δύσκολο βέβαια... και ιδιαίτερα για τους λάτρεις της soul jazz), μια ματιά στους μουσικούς που αποτελούν το σχήμα του "Think!" είναι αρκετή για να πείσει κάθε "δύσπιστο ακροατή" ότι το εν λόγω album "απαιτεί" να του δείξει κανείς τη δέουσα...ακρόαση. Με τον Lee Morgan να "βγαίνει" απ' τα στενά όρια του hard bop και να τα καταφέρνει εξίσου καλά και σ' αυτόν τον ήχο - με τον Newman ο οποίος ούτως ή άλλως είχε απο πολύ νωρίς αρκετές "soul επιρροές" στον ήχο του και με τον "συνήθη ύποπτο" σε τέτοια album Melvin Sparks στην κιθάρα μιλάμε για μία dream team μουσικών που συμπληρώνεται από τον Marion Booker Jr. στα τύμπανα (σχεδόν πάντα συνεργός στις δουλειές του George Benson τη δεκαετία του 70), τον Henry "Pucho" Brown στα Timbales και από το δίδυμο των Willie Davis και Norberto Apellianz στα κρουστά. Το "Think!" είναι ο παρθενικός δίσκος του Smith στη Blue Note και ο δεύτερος προσωπικός του και για τα δικά μου δεδομένα είναι απ' τους πρώτους δίσκους που μου έρχονται στο νου όταν σκέφτομαι εκείνο το "πάντρεμα" της soul μουσικής με την jazz (ίσως αμέσως μετά το "Double Barrelled Soul" της συνεργασίας των David Newman & Jack McDuff).
Ακόμα κι απ' τον τίτλο του album μπορεί κανείς να καταλάβει περι τίνος πρόκειται καθώς εδώ διασκευάζεται με εξαιρετικό τρόπο το πασίγνωστο "Think" της Aretha Franklin (το οποίο και ποστάρω ως πρόγευση). Ενδιαφέρον έχει το γεγονός ότι άλλος ένα οργανίστας της jazz -ο Jimmy McGriff- διασκεύασε μόλις ένα μήνα* αργότερα στο δίσκο του "The Worm" το κομμάτι της Franklin. Παρ' όλα αυτά νομίζω ότι η προσέγγιση του Smith είναι μακράν καλύτερη. Το δισκάκι ανοίγει με μία σύνθεση του μεγάλου Νότιοαφρικανού τρομπετίστα Hugh Masekela το "Son Of Ice Bag" ενώ το album συμπληρώνεται από δύο συνθέσεις του ίδιου του οργανίστα (The Call Of The Wild και Slouchin') και απ' το παραδοσιακό "Three Blind Mice". Σας φιλώ στο μόντεμ! Radiodada
* Think (Ιούλιος 1968) - The Worm (Αύγουστος 1968)
Lonnie Smith - Think!
Lonnie Smith - Son Of Ice Bag
Lonnie Smith: Hammond
Lee Morgan: Τρομπέτα
David Newman: Τενόρο Σαξόφωνο, Φλάουτο
Melvin Sparks: Κιθάρα
Marion Booker Jr.: Τύμπανα
Henry "Pucho" Brown: Timbales
Willie Davis/Norberto Apellianz: Κόνγκα, Κρουστά
About Lonnie Smith
Dr. Lonnie Smith (born July 3, 1942 in Lackawanna, New York) is a jazz Hammond B3 organist and pianist.
He was born in Lackawanna, New York, into a family with a vocal group and radio program. Smith says that his mother was a major influence on him musically, as she introduced him to gospel, classical, and jazz music. He was part of several vocal ensembles in the 1950s, including the Teen Kings. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3.
Smith's affinity for R&B melded with his own personal style as he became active in the local music scene. He moved to New York City, where he met George Benson, the guitarist for Jack McDuff's band. Benson and Smith connected on a personal level, and the two formed the George Benson Quartet, featuring Lonnie Smith, in 1966.
After two albums under Benson's leadership, It's Uptown and Cookbook, Smith recorded his first solo album (Finger Lickin' Good) in 1967, with George Benson and Melvin Sparks on guitar, Ronnie Cuber on baritone sax, and Marion Booker on drums. This combination remained stable for the next five years.
After recording several albums with Benson, Smith became a solo recording artist and has since recorded over 30 albums under his own name. Numerous prominent jazz artists have joined Smith on his albums and in his live performances, including Lee Morgan, David "Fathead" Newman, King Curtis, Terry Bradds, Blue Mitchell, Joey DeFrancesco and Joe Lovano.
In 1967, Smith met Lou Donaldson, who put him in contact with Blue Note Records. Donaldson asked the quartet to record an album for Blue Note, Alligator Bogaloo. Blue Note signed Smith for the next four albums, all in the soul jazz style, including Think (with Melvin Sparks, Marion Booker, Lee Morgan and David Newman) and Turning Point (with Lee Morgan, Bennie Maupin, Melvin Sparks and Idris Muhammad). Smith also plays for college universities across the nation.
Smith's next album Move Your Hand was recorded at the Club Harlem in Atlantic City, New Jersey in August 1969. The album's reception allowed his reputation to grow beyond the Northeast. He would record another studio album Drives and one more live album Live at Club Mozambique (recorded in Detroit on May 21, 1970) before leaving Blue Note.
In the mid-1970s, Dr. Lonnie Smith converted to Sikhism. Smith has also been referred to from around that time as "Dr. Lonnie Smith" although the honorific does not represent an academic doctorate degree.
Smith toured the northeastern United States heavily during the 1970s. He concentrated largely on smaller neighborhood venues during this period. His sidemen included Ronnie Cuber, Dave Hubbard, Bill Easley and George Adams on sax, Donald Hahn on trumpet, George Benson and Larry McGee on guitars, and Joe Dukes, Sylvester Goshay, Phillip Terrell, Marion Booker, Jimmy Lovelace, Charles Crosby, Art Gore, Norman Connors and Bobby Durham on drums.
Smith has performed at several prominent jazz festivals with artists including Grover Washington, Jr., Ron Carter, Dizzy Gillespie, Lou Donaldson and Ron Holloway. He has also played with musicians outside of jazz, such as Dionne Warwick, Gladys Knight, Etta James, Joan Cartwright, and Esther Phillips.
He was named the "Organ Keyboardist of the Year" in 2003, 2004, 2005, 2008, and 2009 by the Jazz Journalist Association.
Freddie Hubbard: Τρομπέτα
Herbie Hancock: Πιάνο
Ron Carter: Μπάσο
Lenny White: Τύμπανα
Joe Hendrerson: Σαξόφωνο
Σύνθεση Μουσικών (Bonus Track - Red Caly Live):
Freddie Hubbard: Τρομπέτα
Ron Carter: Μπάσο
Billy Cobham: Τύμπανα
Stanley Turrentine: Τενόρο Σαξόφωνο
George Benson: Κιθάρα
Johnny Hammond: Ηλεκτρικό Πιάνο/Hammond
Airto Moreira: κρουστά
About Freddie Hubbard
Frederick Dewayne Hubbard (7 April 1938 – 29 December 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 60s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.
Hubbard started playing the mellophone and trumpet in his school band, studying at the Jordan Conservatory with the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.
In December 1960 Hubbard was invited to play on Ornette Coleman's Free Jazz after Coleman had heard him playing with Don Cherry.
Then in May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only 'session' musician who appeared on both Olé and Africa/Brass, Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard would join Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.
It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.
Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including, Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch, Herbie Hancock's Maiden Voyage, and Wayne Shorter's Speak No Evil.He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the '60s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension.
Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson. Although his early 1970s jazz albums Red Clay, First Light, Straight Life, and Sky Dive were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.
In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as VSOP, VSOP: The Quintet, VSOP: Tempest in the Colosseum (all 1977) and VSOP: Live Under the Sky (1979). Hubbard's trumpet playing was featured on the track Zanzibar, on the 1978 Billy Joel album 52nd Street (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An "unfaded" version was released on the 2004 Billy Joel box set My Lives.
In the 1980s Hubbard was again leading his own jazz group, attracting very favorable reviews, playing at concerts and festivals in the USA and Europe, often in the company of Joe Henderson, playing a repertory of Hard-bop and modal-jazz pieces. Hubbard played at the legendary Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He played with Woody Shaw, recording with him in 1985, and two years later recorded Stardust with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in Holland, from which came Feel the Wind. In 1990 he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz and vocalist Salena Jones. He also performed at the Warsaw Jazz Festival at which Live at the Warsaw Jazz Festival (Jazzmen 1992) was recorded.
Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career. His best records ranked with the finest in his field.
In 2006, The National Endowment for the Arts honored Hubbard with its highest honor in jazz, the NEA Jazz Masters Award. On December 29, 2008, Hubbard's hometown newspaper, The Indianapolis Star reported that Hubbard died from complications from a heart attack suffered on November 26 of the same year. Billboard magazine reported that Hubbard died in Sherman Oaks, California.
Freddie Hubbard had close ties to the Jazz Foundation of America in his later years. Freddie is quoted as saying, “When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people."The Jazz Foundation of America’s Musicians' Emergency Fund took care of Freddie during times of illness. After his passing Mr. Hubbard’s estate requested that tax deductible donations be made in Freddie’s name to The Jazz Foundation of America.
Idris Muhammad: Τύμπανα
Groover Washington Jr.: Σοπράνο & Τενόρο Σαξόφωνο Bob James: Πλήκτρα
Gary King: Ηλεκτρικό Μπάσο
Joe Beck: Κιθάρα
Ralph McDonald: Κρουστά
Randy Becker: Τρομπέτα, Flugelhorn
About Idris Muhammad
Idris Muhammad (born Leo Morris, November 13, 1939, New Orleans, Louisiana; Arabic: إدريس محمد) is a jazz drummer. He changed his name in the 1960s upon his conversion to Islam. He is known for his funky playing style. He has released a number of albums as leader, and has played with a number of jazz legends including Lou Donaldson, Johnny Griffin, Pharoah Sanders and Grover Washington, Jr. He has been touring and recording with pianist Ahmad Jamal since 1995. At 15 years-old, one of Muhammad's earliest recorded sessions as a drummer was on Fats Domino's 1956 hit "Blueberry Hill".
In 1966, he married Dolores "LaLa" Brooks (former member of the Crystals; she converted to Islam with him and went for a time under the name Sakinah Muhammad). They separated in 1999. Together, they have two sons and two daughters. Muhammad is an endorser of Istanbul Agop Cymbals. who issued a 22" Idris Muhammad Signature Ride in at the 2008 NAMM show in Anaheim, California.
Ώτα μου καλησπέρα και καλή εβδομάδα.
Στα ίδια μουσικά μήκη και πλάτη με το προηγούμενο album ("Respect") του Jimmy Smith θα κινηθούμε, με έναν groovy/funk/soul/jazz δίσκο του σαξοφωνίστα Stanley Turrentine.
Μαζί του και σ' αυτον το album συμμετέχει παίζοντας Hammond η σύζυγός του, η εξαιρετική Shirley Scott η οποία υπογράφει και τη σύνθεση ενός κομματιού ("Boogaloo").
Καταλυτική επίσης είναι και η συμμετοχή του "συνήθη υπόπτου" (σε τέτοια ακούσματα) Idris Muhammad στα τύμπανα, την παρουσία του οποίου παίρνει κανείς χαμπάρι απ' τα πρώτα κιόλας μέτρα του "Buster Brown" που ανοίγει το δίσκο και που ακολουθεί σε video μορφή.
Αξιόλογη η διαδκευή πάνω στο κλάσικ του Dylan το "Blowing In The Wind" ενώ στις ωραίες στιγμές του δίσκου συγκαταλαγέται και το "Living Through It All".
Stanley Turrentine - Buster Brown
Stanley Turrentine: Τενόρο Σαξόφωνο
Shirley Scott: Hammond
Jimmy Pond: Κιθάρα
Bob Cranshaw: Ηλεκτρικό Μπάσο
Idris Muhammad/Ray Lucas: Τύμπανα
About Stanley Turrentine
Stanley William Turrentine, also known as "Mr. T" or "The Sugar Man", (April 5, 1934 – September 12, 2000) was an American jazz tenor saxophonist.
Turrentine was born in Pittsburgh's Hill District into a musical family. His father, Thomas Turrentine, Sr., was a saxophonist with Al Cooper's Savoy Sultans, his mother played stride piano, and his older brother Tommy Turrentine also became a professional trumpet player.
He began his prolific career with blues and rhythm and blues bands, and was at first greatly influenced by Illinois Jacquet. In the 1950s, he went on to play with the groups of Lowell Fulson, Earl Bostic, and at the turn of the decade, Max Roach.
He married the organist Shirley Scott in 1960 and the two frequently played and recorded together. In the 1960s, he started working with organist Jimmy Smith, and made many soul jazz recordings both with Smith and as a leader.
In the 1970s, after his professional split and divorce from Scott, Turrentine turned to jazz fusion and signed for Creed Taylor's CTI label. His first album for CTI, "Sugar" proved one of his biggest successes and a seminal recording for the label. He worked with Freddie Hubbard, Milt Jackson, Bob James, Richard Tee, Idris Muhammad, Ron Carter, and Eric Gale, to name a few. He returned to soul jazz in the 1980s and into the 1990s.
Turrentine lived in Ft. Washington, Maryland from the early 90s until his death. He died of a stroke in New York City on September 12, 2000 and is buried in Pittsburgh's Allegheny Cemetery.
About Shirley Scott
Shirley Scott (March 14, 1934 – March 10, 2002) was an American hard bop and soul-jazz organist. She was most known for working with her husband, Stanley Turrentine, and with Eddie "Lockjaw" Davis. She was known as 'Queen of the Organ'.
Born in Philadelphia, Pennsylvania, Scott was an admirer of Jimmy Smith, and played piano and trumpet before moving to the Hammond organ, her main instrument, though on occasion she still played piano. In the 1950s she became known for her work (1956–1959) with the saxophone player Eddie Davis, particularly on the song "In the Kitchen". She was married to Stanley Turrentine and played with him from 1960 to 1969. Later, she led her own group, mostly a trio. Saxophonist Harold Vick often played with her.
In the 1980s, she became a jazz educator and became a highly known and respected member of Pittsburgh, Pennsylvania's jazz community.
Scott died of heart failure in 2002, which was hastened by the diet drug fen-phen. Scott won an $8 million settlement in February 2000 against American Home Products, the manufacturers of the drug cocktail.