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Vinyl Record Album LP Pressing by
Stanley Turrentine "Rough 'N Tumble" 1966 Blue Note Records BLP4240
Price: $18.00
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Original 1966 vinyl record pressing by Stanley Turrentine "Rough 'N Tumble" on Blue Note Records BLP4240.

GRADES*
VINYL VG+ high gloss - close to nm - very nice!

LABEL VG+ shows minor spindle marks

COVER VG slight rounding at corners - showing signs of ring wear - sm sticker on cover, upper right front

SIDE A. - track list:
And Satisfy 6:40 - What Could I Do Without You 4:35 - Feeling Good 7:15

SIDE B. - track list:
Shake 5:50 - Walk on By 6:00 - Baptismal 6:30

Personnel:
Pepper Adams, baritone sax - Bob Cranshaw, bass - Grant Green, guitar - Blue Mitchell, trumpet - Mickey Roker, drums - James Spaulding, alto sax - Stanley Turrentine, tenor sax - McCoy Tyner, piano
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Stanley Turrentine "Rough 'N Tumble" 1966 Blue Note Records BLP4240 Vinyl Record Album
Stanley Turrentine "Rough 'N Tumble" 1966 Blue Note Records BLP4240
Rough 'n' Tumble is a pretty straight-ahead set, especially for 1966. "And Satisfy" and "Feelin' Good" typify the comfortable sessions, and both show off Turrentine's trademark tasteful playing. To its credit, Rough 'n' Tumble isn't rife with covers of songs that were doomed to be ephemeral, and Turrentine tackled two of the more lasting songs. His cover of Sam Cooke's "Shake" adheres closely to the original. Bacharach and David no doubt figured into jazz albums of the time, and "Walk On By" gets a suitably downcast reading here. The album's final track, the intricate "Baptismal," seems to get most of Turrentine's attention, and the song is perfect for his emotional yet poised playing technique. Rough 'n' Tumble features a great lineup of players, including Pepper Adams, Blue Mitchell, and McCoy Tyner.

SIDE A. - track list:
And Satisfy 6:40 - What Could I Do Without You 4:35 - Feeling Good 7:15

SIDE B. - track list:
Shake 5:50 - Walk on By 6:00 - Baptismal 6:30

Personnel:
Pepper Adams, baritone sax - Bob Cranshaw, bass - Grant Green, guitar - Blue Mitchell, trumpet - Mickey Roker, drums - James Spaulding, alto sax - Stanley Turrentine, tenor sax - McCoy Tyner, piano

Jazz has been called America's classical music, and for good reason. Along with the blues, its forefather, it is one of the first truly indigenous musics to develop in America, yet its unpredictable, risky ventures into improvisation gave it critical cache with scholars that the blues lacked. At the outset, jazz was dance music, performed by swinging big bands. Soon, the dance elements faded into the background and improvisation became the key element of the music. As the genre evolved, the music split into a number of different styles, from the speedy, hard-hitting rhythms of be-bop and the laid-back, mellow harmonies of cool jazz to the jittery, atonal forays of free jazz and the earthy grooves of soul jazz. What tied it all together was a foundation in the blues, a reliance on group interplay and unpredictable improvisation. Throughout the years, and in all the different styles, those are the qualities that defined jazz.

Although some history books claim that Hard Bop arose as a reaction to the softer sounds featured in cool jazz, it was actually an extension of bop that largely ignored West Coast jazz. The main differences between hard bop and bop are that the melodies tend to be simpler and often more "soulful"; the rhythm section is usually looser, with the bassist not as tightly confined to playing four-beats-to-the-bar as in bop; a gospel influence is felt in some of the music; and quite often, the saxophonists and pianists sound as if they were quite familiar with early rhythm & blues. Since the prime time period of hard bop (1955-70) was a decade later than bop, these differences were a logical evolution and one can think of hard bop as bop of the '50s and '60s. By the second half of the 1960s, the influence of the avant garde was being felt and some of the more adventurous performances of the hard bop stylists (such as Jackie McLean and Lee Morgan) fell somewhere between the two styles. With the rise of fusion and the sale of Blue Note (hard bop's top label) in the late '60s, the style fell on hard times although it was revived to a certain extent in the 1980s. Much of the music performed by the so-called Young Lions during the latter decade (due to other influences altering their style) was considered modern mainstream, although some groups (such as the Harper Brothers and T.S. Monk's sextet) have kept the 1960s' idiom alive.
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