Jazzclub

我今天剛買了一張，次中音薩克斯風手史丹利•圖倫汀（Stanley Turrentine）的「老鼠屎」專輯（The Spolier，Blue Note 0946 3 74224 2 7），吃過晚餐一邊看書時一邊聽，心想：「這傢伙有一套，相當典型的Hard Bop風格，還真不錯聽耶！」 忽然想到，想知道自己到底有幾張他的唱片（哈，太混了，唱片多到自己搞不清楚）？結果到CD架上的T字頭一翻，賓果！答案揭曉，連這張新買的總共只有三張。 之所以會買這張「老鼠屎」，其實倒不是因為史丹利•圖倫亭，而是這張1966年在Van Gelder錄音室的錄音，由大師RVG（Rudy van Gelder）本人母帶處理，反正一張才兩百多塊，試試手氣。所幸，音樂不差。 第一軌「The Magilla」快曲，從頭到尾的頑固低音，很容易就讓聽的人找到follow的方向感，就連我一邊準備月考的女兒全身也跟著搖擺起來。第二軌抒情的「When the Sun Comes Out」，也頗能展現Tenor Sax迷人的風味。其實光是前兩軌一快一慢的表現，就值回票價了。 週五小弟我可能到台中全國飯店講爵士樂，說不定就可以帶這張「老鼠屎」，選播前兩段暖暖身、開開場（肯定不會一張老鼠屎，壞了一場演講）。 根據「老鼠屎」唱片側標上所言，完整節錄如下：『這份由皮爾森公爵擔任編曲，完成於1966年的九重奏巨星專輯，堪稱是史丹利•圖倫汀上一張Rough ’N’ Tumble專輯的完美續作。在專輯中McCoy Tyner對各種風格瞭若指掌的鋼琴彈奏、Blue Mitchell的靈魂風小號吹奏、James Spaulding和PepperAdams兩人的薩克斯風只要一逮到機會就呈現個人風格、與史丹利•圖倫汀互補的演奏、Bob Cranshaw、Mickey Roker兩人的貝斯、則扮演起穩定軍心的效果，他們共同成就了這張精彩的唱片。 編曲者皮爾森在六○年代和史丹利•圖倫汀經常合作，但多半都是為五、六人編制的小型咆勃式樂團編曲，但這次他逮到機會，為剛轉賣給Liberty唱片公司的藍調唱片編寫有較大資金來源的這張專輯，充份展現他對這種配器獨特的九人組合的想像力。片中收錄比較特別的一首是以往並未發行的「Lonesome Lover」這首Max Roach的作品，這首曲子在本專輯於一九九六年首度CD發行時才收錄。 這整張專輯的風格走很輕鬆的拉丁節奏和藍調風格，以圖倫汀那非常正統的爵士薩克斯風為主Key，見證了他在六零年代中葉的穩健樂風。』

另外，我僅有的第二張史丹利•圖倫汀唱片是「鹹水之歌」（Salt Song， Cti ZK 65126）。這是1971年在Van Gelder的錄音，合作樂手多到數不完，整體音樂風格當然新潮、前衛一些。 而當我想再進一步多了解史丹利•圖倫汀這個人，先看《Jazz for Dummies》，薩克斯風手部分竟然沒提到他，再查手邊那本《Who’s who of Jazz》還是完全忽略這位老兄。我心中又自己OS：「哇塞！到底是他太『小咖』了？還是薩克斯風手太多『族繁不及備載』？」 所幸，你可以在Google的搜尋空白欄中，key入Stanley Turrentine。就會看到：「Tenor Saxophone，April 5, 1934 -- September 12, 2000」（http://hardbop.tripod.com/stanley.html） ”Some people can play that and really extend that, like Stanley Turrentine. He can play that little snap. It’s right in his body and he’s not trying to imitate nobody”--Clifford Jordan （DAVID H. ROSENTHAL, Hard Bop, Oxford University Press, 1992寫道） Born in Pittsburgh in 1934, Stanley Turrentine took up saxophone at the age of eleven, encouraged by his father, who had played the same instrument with Al Cooper’s Savoy Sultans. Turrentine’s first professional gig was with Lowell Fulson’s blues band. ”I guess my sound started back then,” he says, ”I couldn’t avoid the blues. That band had a blind piano player in it, name of Ray Charles.” Charles was already writing songs, which Turrentine would transcribe after they finished work in the joints and barns the band played. After leaving Fulson, Turrentine moved to Cleveland, where he gigged with Tadd Dameron before going on the road again in Earl Bostic’s R&B combo. Following two years in the army (1956-1958), he joined Max Roach. It was at this point that Turrentine began to make an impression in the jazz world. In particular, he caught the attention of Alfred Lion, who signed him to an exclusive contract with Blue Note Records that lasted until 1969. During this ten-year period, Turrentine recorded regularly as a sideman for the label on albums by Horace Parlan, Art Taylor, Jimmy Smith, Duke Jordan, Horace Silver, Duke Pearson, and Kenny Burrell. For several years in the 1960s, he co-led a combo with his wife, organist Shirley Scott. ”We called it the ’Chitlins Circuit.’ A lot of small places, with bad sound systems, small audiences . . . We used to deadhead a lot. Twice we drove to the coast in three days, New York to L.A., eating in the car, sleeping in the car, with the organ in a little trailer in the back. You’d get there to the gig and for days you’d still feel like you’re still riding. It’s funny now; it wasn’t so funny then. We’d get to clubs where the hallways were too narrow for the organ, and once in Virginia, we had to carry the organ up three flights of fire escapes. But for all that, we’d go in that night and we’d blow our hearts out.” What first leaps out and grabs the listener’s attention is Turrentine’s sweet yet muscular sound, which suggests Johnny Hodges more than the classic Swing tenors. A flexible voice, it can deepen to a resonant honk, soar into one of the most piercingly full-throated cries in jazz, and broaden to a thick, sensuous vibrato on ballads. Turrentine tends to play on top of the beat, making for a deep, trancelike groove, and his phrasing draws on both modern jazz and R&B. Angular lines alternate with timeless blues phraseology. Turrentine’s work has been remarkably consistend, and he’s still going strong.

至於我僅有的第三張史丹利•圖倫汀唱片是「不只是心情」（More Than A Mood，MusicMaster Jazz 01612-65156-2）。本片據說在那個講究發燒片的年代，可是全球限量1500張的24黃金珍藏版，而且獲得《Down Beat》雜誌五顆星的評價。 這張1992年在紐約灌錄的「不只是心情」，是史丹利•圖倫汀與小喇叭手Freddie Hubbard、鋼琴手Cedar Walton、貝斯手Ron Carter、鼓手Billy Higgins等樂手，一同回顧過往的緬懷專輯。 維基百科上頭則記載Stanley Turrentine（http://en.wikipedia.org/wiki/Stanley_Turrentine）： Stanley William Turrentine (April 5, 1934 – September 12, 2000) was an American jazz tenor saxophonist.Born in Pittsburgh’s Hill District, 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 Lowell Fulson, Earl Bostic, and Max Roach’s bands. He married the organist Shirley Scott in 1960 and played then frequently with her. 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 he turned to jazz fusion. He worked with 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 90’s until his death. He was the brother of trumpeter Tommy Turrentine.Turrentine died of a stroke in New York City September 12, 2000. He is buried in Pittsburgh’s Allegheny Cemetery.

維基百科上還有Stanley Turrentine 的錄音作品（Discography）清單 1960 Stan ”The Man” Turrentine - Bainbridge 1960 Look Out - Blue Note 1960 Blue Hour - Blue Note 1961 Comin’ Your Way - Blue Note 1961 Up at Minton’s, Vol. 1 - Blue Note 1961 Up at Minton’s, Vol. 2 - Blue Note 1961 Up at Minton’s - Blue Note 1961 Dearly Beloved - Blue Note 1961 Z.T.’s Blues - Blue Note 1961 Ballads - Blue Note 1962 That’s Where It’s At - Blue Note 1962 Jubilee Shout - Blue Note 1963 Never Let Me Go - Blue Note 1963 A Chip off the Old Block - Blue Note 1964 Hustlin’ - Blue Note 1964 Stanley Turrentine - Blue Note 1964 In Memory Of - Blue Note 1964 Let It Go - Impulse! 1965 Joyride - Blue Note 1965 Tiger Tail - Mainstream 1966 Rough ’n’ Tumble - Blue Note 1966 Easy Walker - Blue Note 1966 The Spoiler - Blue Note 1967 New Time Shuffle - Blue Note 1968 Ain’t No Way - Blue Note 1968 Common Touch - Blue Note 1968 Look of Love - Blue Note 1968 Always Something There - Blue Note 1969 Another Story - Blue Note 1971 Sugar (with Ron Carter, George Benson, Butch Cornell, and Freddie Hubbard) - CTI 1971 The Sugar Man - CTI 1971 Salt Song - CTI 1972 Cherry (with Milt Jackson) - Columbia 1973 Don’t Mess With Mister T. - Columbia 1974 Pieces of Dreams - Original Jazz Classics 1975 In the Pocket - Fantasy 1975 Have You Ever Seen the Rain? - Fantasy 1976 Everybody Come on Out - Fantasy 1976 Man with the Sad Face - Bainbridge 1977 Nightwings - Fantasy 1977 West Side Highway - Fantasy 1977 Love’s Finally Found Me - Classic World 1978 What About You! - Fantasy 1979 Soothsayer - Elektra 1979 Betcha - Elektra 1980 Inflation - Elektra 1980 Use the Stairs - Fantasy 1981 Tender Togetherness - Elektra 1981 Mr. Natural - Blue Note 1983 Home Again - Elektra 1984 Straight Ahead - Blue Note 1986 Wonderland (with Stevie Wonder) - Blue Note 1987 The Baddest Turrentine - CTI 1989 La Place - Blue Note 1990 Introducing the 3 Sounds - Blue Note 1991 The Look Love - Huub 1992 More than a Mood - Music Masters 1993 If I Could - Music Masters 1995 Three of a Kind Meet Mr. T - Minor Music 1995 Live at Minton’s - Blue Note 1995 T Time - Music Masters 1995 Time - Music Masters 1999 Do You Have Any Sugar? - Concord Jazz 2002 Deuces Wild - Prestige Elite 2003 Look Out - Toshiba 2004 Blue Hour, Vol. 2 2004 Story of Jazz - EMI I’m in Love - Fantasy Love Hangover - Fantasy Stan the Man - Time

Jazz Profiles from NPR的Stanley Turrentine (1934-2000)紀錄則是Produced by Njemile Carol Jones（http://www.npr.org/programs/jazzprofiles/archive/turrentine.html） Stanley William Turrentine was one of the most distinctive tenor saxophonists in jazz. Known for his big, warm, sound, ”The Sugar Man” or the original ”Mr. T” found inspiration in the blues and turned it into a hugely successful career with a #1 hit and four Grammy nominations -- first in R&B and then in jazz. Born on April 5, 1934 in Pittsburgh, a city that has produced more than its share of jazz masters, Turrentine hailed from a musical family. His saxophone-playing father was a big influence, as was his stride piano-playing mother and older brother, the late trumpeter Tommy Turrentine. One of Stanley’s earliest influences on sax was tenor great Illinois Jacquet. Jacquet once encouraged a 12-year old Stanley to sit in with him. At 17, Turrentine went on the road with bluesman Lowell Fulson. In 1953, he was hired by R&B saxman and bandleader Earl Bostic to replace John Coltrane. A consummate musician who learned his craft through disparate experiences and influences, Turrentine received his only formal musical training during his military stint in the mid-’50s. In 1959, he jumped from the frying pan into the fire when he left the military and went straight into the band of the great drummer Max Roach. Turrentine married organist Shirley Scott (left) in 1960. When they moved to Philadelphia, they befriended Hammond B-3 organ legend Jimmy Smith and Turrentine quickly immersed himself in the Smith’s soulful jazz organ sound. He even recorded on Jimmy’s epochal Blue Note album Midnight Special. The organ-centered soul-jazz that Jimmy Smith and Shirley Scott concocted provided Turrentine the perfect gateway to cross over into pop territory. His first foray in this new, more radio-friendly music began in 1969 when he signed with Creed Taylor’s slick and successful CTI label. Turrentine’s first album for CTI, Sugar, was released in 1970 and yielded the classic tune of the same name. He continued with a string a pop-laced crossover albums for CTI including the 1971 hit Don’t Mess with Mr. T. His relative success, despite his continued ability to deliver in the straight-ahead jazz vein, led to a predictable critical backlash. Nevertheless, Turrentine persevered on the ever-changing landscape of jazz, by tapping into his enduring, soulful sound and bluesy approach. He remained a perennial favorite among jazz fans well up to his untimely death on Sept. 12, 2000.