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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t stanley turrentine
a l b u m sugar
l a b e l epic
g e n r e jazz
r i p d a t e 01.14.2003
s t r e e t d a t e 03.05.2002
o r i g i n a l r e l 1970
s u p p l i e r beep!
s o u r c e cd
b i t r a t e 192 kbps
e n c o d e r lame 3.92
r e l e a s e n o t e s
If ever there were a record that both fit perfectly and stood outside
the CTI Records' stable sound, it is Sugar by Stanley Turrentine.
Recorded in 1970, only three tracks appear on the original album (on
the reissue there's a bonus live version of the title track, which
nearly outshines the original and is 50 percent longer). Turrentine,
a veteran of the soul-jazz scene since the '50s, was accompanied by a
who's who of groove players, including guitarist George Benson,
Lonnie Liston Smith on electric piano, Freddie Hubbard on trumpet,
bassist Ron Carter, organist Butch Cornell, and drummer Billy Kaye,
among others. (The live version adds Airto, flutist Hubert Laws,
drummer Billy Cobham, and organist Johnny Hammond.) The title track
is a deep soul blues workout with a swinging backbeat and the rhythm
section fluidly streaming through fours and eights as Benson,
Hubbard, and Turrentine begin slowly and crank up the heat, making
the pace and stride of the cut simmer then pop ù especially in
Hubbard's solo. This is truly midnight blue, and the party's at the
point of getting really serious or about to break up. By the time
Benson picks up his break, full of slick, shiny, warm arpeggios, the
seams are bursting and couples are edging into corners. Butch
Cornell's "Sunshine Alley" is a solid, funky groover, paced by organ
and double fours by Kaye. Turrentine and Hubbard stride into the
melody and keep the vamp in the pocket, riding out past the blues
line into a tag that just revs the thing up even further. But the big
surprise is in the final track, one of the most solidly swinging,
from-the-gut emotional rides of John Coltrane's "Impressions" ever
taken. Turrentine is deep inside his horn, ringing out in legato with
everything he has ù and it is considerable. Ron Carter's bass playing
flows through the modal interludes, creating a basis for some
beautifully intervallic invention by Benson and Smith by building a
series of harmonic bridges through the mode to solos. It's hard to
believe this is Turrentine, yet is could be no one else. If jazz fans
are interested in Turrentine beyond the Blue Note period ù and they
should be ù this is a heck of a place to listen for satisfaction.
This 2002 reissue cuts "Gibraltar" and replaces it with a live
version of "Sugar".
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
sugar 10:09
sunshine alley 10:47
impressions 14:13
sugar (live) 14:29
49:38
MB 68,2
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s p e c i a l g r e e t s g o e s o u t t o : SChiZO
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
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