Stanley Turrentine – Salt Song {SONY}


Review by Steve Huey (allmusic.com)

Stanley Turrentine’s stint with Creed Taylor’s CTI label may not have produced any out-and-out classics on the level of the very best LPs by Freddie Hubbard, Hubert Laws, or George Benson, but the bluesy tenorist’s output was consistently strong and worthwhile for all but the most stridently anti-fusion listeners. Salt Song was Turrentine’s second album for CTI, and while it’s perhaps just a small cut below his debut Sugar, it’s another fine, eclectic outing that falls squarely into the signature CTI fusion sound: smooth but not slick, accessible but not simplistic. In general, keyboardist Eumir Deodato’s arrangements have plenty of light funk and Brazilian underpinnings, the latter often courtesy of percussionist Airto Moreira. The first three cuts are the most memorable, beginning with a ten-minute exploration of the abrupt time signature shifts of Freddie Hubbard’s “Gibraltar.” Though a hard bop version might have returned to the theme a little less often, Turrentine’s solo sections are full of ideas, befitting one of his favorite pieces of the period; plus, guitarist Eric Gale shines as both a rhythm and lead player. The traditional gospel tune “I Told Jesus” features Turrentine at his bluesiest and earthiest, with snatches of ethereal choir vocals floating up behind him. Milton Nascimento’s title track, naturally, has the strongest Brazilian flavor of the program, and Turrentine skillfully negotiates its frequent shifts in and out of double time. The 1997 CD reissue also includes Nascimento’s “Vera Cruz” as a bonus track. All in all, Salt Song has dated well, partly because the arrangements don’t overemphasize electric piano, but mostly on the strength of Turrentine’s always-soulful playing.

Tracks:
01 – Gibraltar
02 – I Told Jesus
03 – Salt Song
04 – I Haven’t Got Anything Better to Do
05 – Storm
06 – Vera Cruz (bonus)

Personnel:
Stanley Turrentine – tenor saxophone
Ron Carter, Russell George – bass
Billy Cobham, Airto Moreira – drums
Airto Moreira, Joao Palma, Dom Um Romao – percussion
Eumir Deodato, Horace Parlan, Richard Tee – piano/electric piano/organ
Eric Gale, Sivuca – guitar
Hubert Laws, George Marge, Romeo Penque, Jerome Richardson – flute
Julius Brand, Paul Gershman, Julie Held, Leo Kahn, Harry Katzman, Joe Malin – violin
Harold Coletta – viola
Charles McCracken, Alan Shulman – cello
Margaret Branch, Brenda Bryant, Patricia Smith – voices

Arranged and conducted by Eumir Deodato
Tracks 1-5 recorded at Van Gelder Studios, July 7 & 13, 1971
Track 6 recorded at Van Gelder Studios, April 23, 1971

Quality: eac, flac, cue, log, artwork

Cannonball Adderley – Cannonball’s Bossa Nova {Capitol}


Review by Al Campbell (allmusic.com)

A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Unfortunately this release contains little fire, as Adderley didn’t get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious. This session was originally released on Riverside, but Adderley took several master tapes (including this one) when he made his move to Capitol.

Tracks:
01 – Clouds
02 – Minha Saudades
03 – Corcovado
04 – Batida Diferentes
05 – Joyce’s Sambas
06 – Groovy Sambas
07 – O Amor Em Paz (Once I Loved)
08 – Sambops
09 – Corcovado (alternate take)
10 – Clouds (single version)

Personnel:
Cannonball Adderley – alto saxophone
Sergio Mendes – piano
Durval Ferreira – guitar
Octavio Bailly, Jr. – bass
Dom Um Romao – drums

On #2,4,5,7,8 add Pedro Paulo – trumpet; Paulo Moura – alto saxophone

Recorded at Plaza Sound, New York City on December 7 (#1,2,6,10),
December 10 (#3,7-9) and December 11 (#4,5), 1962.

Quality: eac, flac, cue, log, artwork