For a short time in the late '50s trumpeter Dizzy Reece was an up-and-coming jazz artist. However, success eluded him and he quietly faded into obscurity, only occasionally releasing material after the early '60s. As a matter of fact, the sessions that became Comin' On! languished in the Blue Note vaults for almost four decades. Rediscovered in 1999, these dates feature six well-rounded hard bop compositions by Reece along with three standards. The tracks from April 3, 1960, not only document the Blue Note debut of tenor saxophonist Stanley Turrentine but also employ the talents of the Jazz Messengers' rhythm section of the time, pianist Bobby Timmons, bassist Jymie Merritt, and drummer Art Blakey. By July 17, 1960, the only musician remaining from the previous date was Turrentine, sharing tenor duties with Musa Kaleem, who is also heard on flute. (The later session's rhythm section had changed to pianist Duke Jordan, bassist Sam Jones, and drummer Al Harewood.) Neglected, although spirited, sessions from an underrated trumpeter and composer.

Organist Shirley Scott and her then-husband, tenor great Stanley Turrentine always made potent music together. This CD, which combines together the former Prestige LPs The Soul Is Willing and Soul Shoutin', finds "Mr. T." at his early peak, playing some intense yet always soulful solos on such pieces as Sy Oliver's "Yes Indeed," "Secret Love," and his memorable originals "The Soul Is Willing" and "Deep Down Soul." Scott, who found her own niche within the dominant Jimmy Smith style, swings hard throughout the set and (together with drummer Grassella Oliphant and either Major Holley or Earl May on bass) the lead voices play with such consistent enthusiasm that one would think these were club performances.

West Side Highway reunites Stanley Turrentine with arranger/conductor Claus Ogerman for a funky yet oddly melancholy crossover session that at its best suggests a latter-day interpretation of the tenorist's classic Blue Note dates. Ogerman's bold, dramatic arrangements boast an atypical elegance and restraint that beautifully underline the soulfulness of Turrentine's solos. Even better, the backing vocals that hampered previous LPs are absent here, affording a new spaciousness for the all-star contributions of Eric Gale, Cornell Dupree, Ron Carter, and Hubert Laws. A shame the material is so tepid and predictable, including yet another reading of Turrentine's signature "Sugar" and the jazz perennial "Walkin'."

Covering prime early recordings from 1956-1960 and one mid-'80s cut, Blue Note's The Best of Jimmy Smith offers up a fine introduction to the trailblazing jazz organist. Smith's Blue Note sessions not only introduced the world to the complex solo possibilities of the Hammond B3 organ, but simultaneously ushered in the soul-jazz era of the '60s, spawning a wealth of fine imitators in the process. Before delving into more commercial terrain on Verve in the late '60s, Smith cut a ton of jam-session dates for Blue Note, often with the help of hard bop luminaries like trumpeter Lee Morgan, alto saxophonist Lou Donaldson, tenor saxophonists Tina Brooks and Stanley Turrentine, and drummers Art Blakey and Donald Bailey. All are heard here on classic cuts like "The Sermon," "Back at the Chicken Shack," and "The Jumpin' Blues," with Smith regular Turrentine and a young Morgan availing themselves in especially fine form. For his part, Smith eats up the scenery on all the sides here, taking his solo to particularly impressive heights on a fleetly swinging rendition of "When Johnny Comes Marching Home".

Other than a few short spots, Stanley Turrentine is the only significant soloist on this CD reissue which features a diverse program including "When the Sun Comes Out," "Maybe September," "You're Gonna Hear from Me" and a previously unreleased rendition of Max Roach's jazz waltz "Lonesome Lover." Although he is accompanied by an all-star group that includes trumpeter Blue Mitchell, altoist James Spaulding, baritonist Pepper Adams and pianist McCoy Tyner, Turrentine's sidemen could almost have been anonymous studio players for the tenor is the dominant voice throughout. It is surprising that Pearson did not make more extensive use of the other musicians' unique talents, particularly Tyner. However, despite some potentially indifferent material, Turrentine is in fine form throughout the date, even finding something to say on "Sunny." "La Fiesta" (no relation to the later Chick Corea tune) is the highpoint of a largely enjoyable set.

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.

This collection provides a great value, especially if you total up the costs of each album separately. There are a few issues of which you should be aware. Sound quality is acceptable, but not spectacular. Audiophiles will hate these discs, but I assure you that they are listenable. More importantly, these are not cheesy 'needle drop' transfers from scratchy LPs. Plus these are from albums recorded in the late 1950s/early 1960s during an era when recording technology was rapidly improving. If you compare these to some of the albums to which I've linked below you will see that the ones in this collection do not have bonus tracks. In all cases you are getting tracks that were released on the original album. The six albums span four discs.

Stanley Turrentine was just beginning to turn heads in jazz circles in the early '60s when he made an appearance at Minton's with guitarist Grant Green, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood. The group mixes hard bop with funk and soul jazz; Turrentine's tone, sound, and pacing are good, although he wasn't yet the master at ballads he would be later in his career. Standards and a couple of blues make up the repertoire, giving listeners a definitive look at the soulful Mr. T. near the beginning of his productive musical life.

As the man who wrote the liner notes says, Stanley Turrentine may be the only Texas tenor player to come out of Pittsburgh - and you can hear several of the reasons why in this distillation of his Blue Note dates from 1960 to 1966, plus a grand leap all the way to 1984. Though his sound can be heard as early as the fairly conventional "Little Sheri," the real soulful Turrentine begins to emerge in "Since I Fell for You" with the 3 Sounds, and really explodes in the splendid "River's Invitation," thanks in large part to Oliver Nelson's great chart and Herbie Hancock's irresistible comping. "Smiley Stacy" is a Les McCann blues swinger that inspires a tough, characteristically pointed solo from Turrentine and some real burning from McCann and bassist Herbie Lewis - and he digs deeply into "God Bless the Child," with then-wife Shirley Scott acting cool and caressing on the Hammond organ…

Although he's a monster tenor soloist on funky, exuberant, bluesy soul-jazz, Stanley Turrentine is even more awesome on ballads. His rich, steamy sound, full tone, and ability to pace and develop moods is ideal for show tunes and sentimental love songs. This nine-track set begins with Turrentine nicely caressing the melody and turning in a standout treatment on "Willow Weep For Me," continuing through tearjerkers ("Since I Fell For You") and blues anthems ("God Bless The Child"), and closing with Thad Jones' beautiful "A Child Is Born." Turrentine is matched with numerous premier players, and pianist McCoy Tyner, guitarist Jimmy Smith, and even Turrentine's brother Tommy (trumpet) gently support and complement the main soloist. One of the best Blue Note special discs, featuring moving, frequently hypnotic playing from a true tenor great.

Stanley Turrentine still has a sweeter sound than any other saxophonist, even at the age of 65. It's a joy to hear him play, even when the material is a little faceless and the sound is a little too smooth, as it is on Do You Have Any Sugar? Since Turrentine is a fine musician, there are moments to cherish scattered throughout the record - the spare, soulful ballad "Far Too Little Love" or the R&B groove of "Back in the Day" or the bluesy "2 RBs," for instance - but it often veers too close to smooth jazz territory, especially when vocalist Niki Harris takes the center stage; she is a fine vocalist, but the style of the music becomes too close to crossover jazz whenever she's on the scene…

This early 1980s set of funk-tinged instrumentals features Stanley Turrentine performing a set of easy-listening jazz with orchestral accompaniment. Though perhaps not the best example of the saxophonist's work, it does contain several nice set pieces, notably the big band arrangement of "Ghana," and the atmospheric after-hours ballad "Don't Misunderstand."