By David Rickert
Hustlin'
Stanley Turrentine
1964
The Hammond B-3 brings out the soul in everybody, particularly a fellow like Stanley Turrentine who has it by the bushel. Boasting a wide vibrato and a lifetime's supply of bluesy licks, Turrentine simmers through a half dozen mid-tempo soul jazz workouts on Hustlin' with an excellent roster of supporting musicians. The success of Turrentine's recordings is largely based on the company he keeps, and for this outing the saxophonist is fortunately blessed with a stellar crew, including guitarist Kenny Burrell and wife Shirley Scott on organ (with whom he would wisely record frequently in the sixties). Burrell, who displayed a kinship with Turrentine on other Blue Note dates, employs his resourceful picking when given the opportunity while Scott punches through with heavy organ chords but leaves plenty of space for her husband to work. The rhythm section seems content to fan the flames from the back. If there's one fault of this session though, it's that Turrentine hogs the spotlight; he gets the majority of the soloing time and it's a shame that Burrell and Scott weren't given more to do. People who don't like organ-based jazz aren't going to be won over by this album, but Hustlin' is still one of the better records from Turrentine's long career with the label.
Capuchin Swing
Jackie McLean
1960
Jackie McLean's entire career is well documented by his large output for Blue Note, from his early Charlie Parker influenced records to his later avant-garde explorations. Capuchin Swing falls somewhere in the middle of the pack, featuring plenty of tricky hard bop tunes interlaced with some advanced harmonic ideas. McLean's records never really feature any memorable compositions, since McLean's workmanlike approach dictates that songs are merely springboards for improvisation, and the challenging tunes featured here must have been a real trick to navigate. "Francisco" features rapid changes and shifting rhythms that keep everyone on their toes; the others are taken at a slower gait, but are no less hairy. Fortunately, the sidemen are all up to the challenge of following McLean. Mitchell and Bishop show a similar knack for creating interesting ideas out of the thorny compositions. All this and a bowed solo from Chambers, always a delight to hear. With Capuchin Swing, McLean and company created another fine hard bop entry for the Blue Note label.
The Stylings of Silver
Horace Silver
1957
Horace Silver's compositions feature propulsive rhythms and keen melodies in equal measure. Unlike most of his hard bop contemporaries, Silver always seemed to be writing songs and not just templates for improvising, a method he would finally perfect with the classic Song For My Father. The Stylings of Silver certainly has its share of memorable melodies, from the Latin-tinged "No Smokin'" to the film noir-ish "Soulville". Both Mobley and Farmer clearly understand the architecture of the tunes as well as the ethos of the leader, while Hayes does his best to provide snappy stickwork worthy of Blakey's earlier work with Silver and the Jazz Messengers. Silver's output for Blue Note was remarkably and consistently superb, and The Stylings of Silver is a match for almost anything he did for the label. It's a testament to Silver's work as an artist that so much contemporary jazz works from the template he established during this time. Fun fact: This album featured the first color photograph by Francis Wolff.
Stanley Turrentine-Hustlin'
Tracks: Trouble (No. 2); Love Letters; The Hustler; Ladyfingers; Something Happens to Me; GoinÃÂÃÂÃÂÃÂ Home.
Personnel: Stanley Turrentine-tenor saxophone; Shirley Scott-organ; Kenny Burrell-guitar; Bob Cranshaw-bass; Otis Finch-drums.
Jackie McLean-Capuchin Swing
Tracks: Francisco; Just For Now; Don't Blame Me; Condition Blue; Capuchin Swing; On the Lion.
Personnel: Blue Mitchell-trumpet; Jackie McLean-alto saxophone; Walet Bishop, Jr.-piano; Paul Chambers-bass; Art Taylor-drums.
Horace Silver-The Stylings of Silver
Tracks: No Smokin'; The Back Beat; Soulville; Home Cookin'; Metamorphosis; My One and Only Love.
Personnel: Art Farmer-trumpet; Hank Mobley-tenor saxophone; Horace Silver-piano; Teddy Kotick-bass; Louis Hayes-drums.
