Joe Turner - Big Joe Rides Again
Prix habituel
€38,00
DELAIS MOYEN D'EXPEDITION : 2 A 4 JOURS OUVRES
Délais de livraison variables suivant les pays de destination
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
Joe Turner (vocals), Ernie Royal (trumpet), Vic Dickenson (trombone), Jerome Richardson (alto saxophone), Coleman Hawkins (tenor saxophone), Jimmy Jones (piano), Jim Hall (guitar), Doug Watkins (bass), Charlie Persip (drums), Paul Ricard (trumpet), Jimmy Nottingham (trumpet), Lawrence Brown (trombone), Pete Brown (alto saxophone), Seldon Powell (tenor saxophone), Pete Johnson (piano), Freddie Greene (guitar), Walter Page (bass), Cliff Leeman (drums)
Ernie Wilkins (conductor, arrangements)
Writen by Big Joe Turner (A2, A5, B1, B5), Rudolf B. Moore (A1), Sammy Cahn (A3), Saul Chaplin (A3), L.E. Freeman (A3), Mann Holiner (A3), Alberta Nichols (A3), Marcy Klauber (A4), Harry Stoddard (A4), Danny Barker (B2), Ken Harris (B2), Sammy Cahn (B3), Jule Styne (B3), Johnny Burke (B4), Arthur Johnston (B4)
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Pallas
Label : Speakers Corner
Original Label : Atlantic
Recording: September 1959 by Len Frank, Phil Iehle and Tom Dowd
Production: Nesuhi Ertegun
Originally released in 1960
Reissued in 2017
Tracks :
Side A :
- Switchin' In The Kitchen
- Nobody In Mind
- Until The Real Thing Comes Along
- I Get The Blues When It Rains
- Rebecca
Side B :
- When I Was Young
- Don't You Make Me High
- Time After Time
- Pennies From Heaven
- Here Comes Your Iceman
Reviews:
« With the exception of one selection ("Pennies from Heaven") left over from his 1956 record The Boss of the Blue, the music on this album was all recorded in September 1959. Veteran blues singer Big Joe Turner returns to his roots, belting out blues and early standards while accompanied by an octet arranged by Ernie Wilkins. Among the key sidemen are the great tenor Coleman Hawkins, trombonist Vic Dickenson, trumpeter Paul Ricard and altoist Jerome Richardson; and the highlights include "Nobody in Mind," "Rebecca" and "Don't You Make Me High." An excellent outing for Turner, whose boisterous style would be largely unchanged over his half-century career. » AllMusic Review by Scott Yanow
« Big Joe Turner was a blues icon and pioneer of rock and roll. He was described as a blues shouter and electrified the music world with his 1954 recording, “Shake Rattle And Roll” (of course, Bill Haley and The Comets had a more successful single). According to songwriter Doc Pomus, there wouldn’t have been rock and roll without Big Joe. Turner was an early star at Atlantic Records. Despite his initial efforts in the emerging crossover r & b market, Turner would spend most of his career with jazz combos. But he will be remembered for songs like “Corinna, Corinna”, “Midnight Special”, “Flip Flop And Fly”, “Chains Of Love”, Honey Hush” and “Roll ‘Em Pete”. He was posthumously enshrined in The Rock And Roll Hall Of Fame in 1987.
Speakers Corner Records has released a 180-gram vinyl re-mastering of Big Joe Rides Again. First recorded in 1960, this was a living testament to the r & b prowess of Atlantic Records. Turner is backed by a bona fide Who’s Who of session players, arranged by Ernie Wilkins. Side One opens with “Switchin’ In The Kitchen”. This feels like a combination of big band jazz and jump swing. There are solos by Coleman Hawkins (tenor saxophone), Jerome Dickerson (alto saxophone). Vic Dickenson (trombone) and Ernie Royal (trumpet). Turner’s uncanny vocal phrasing is magnetic. “Nobody In Mind” (one of four Turner compositions) is a sultry arrangement with straight ahead blues resonance. Dickenson’s muted trombone distills the nasty low-down vibe of this number. A lot of the orchestration has a distinctive jazzy swagger. The clever wordplay of “Until The Real Thing Comes Along” is a perfect vehicle for Big Joe’s “Cab Calloway” showmanship. Hawkins adds deep shade with his tenor to provide additional texture to this earnest love song. A sparkling introduction that is worthy of Duke Ellington or Count Basie kicks off “I Get The Blues When It Rains”. Jerome Dickerson shines on alto. Turner’s confident voice is front and center, but he shares the spotlight with the instrumentalists. “Rebecca” (by far the longest album track, clocking in at 7:05) is perhaps the ensemble’s finest performance. This is classic blues with repeat first verse lines. The up tempo jam is anchored by Jones’ muscular, soulful piano runs. There is a trumpet solo with hot licks and an interesting saxophone counterpoint. Turner’s innate talent for phrase turning (“You so beautiful, but you gotta die someday”) is legendary, classic blues.
Side Two gets off to a rousing start with “When I Was Young”. There is a catchy group vamp with punctuated tempo stops. The sparkling arrangement includes voice trading off with trumpet and saxophone. Turner’s colorful lyrics are memorable as is the trombone solo. “Don’t You Make Me High” is a blues classic. With swaying resonance, overt sexuality is enhanced by muted trombone and gritty piano.The selection of two well known pop tunes is a surprise. “Time After Time” (written by the incomparable team of June Styne & Sammy Cahn) has mixed results. Coleman Hawkins captures the whimsical jazz balladry on tenor, but the gruff style of Turner is not the best match. On “Pennies From Heaven” Turner successfully embraces the jazzy inflections and overall jauntiness. Fittingly, “Here Comes Your Icemen” is vintage Turner. With a dirge-like, hypnotic instrumental foundation (reminiscent of “St. Louis Blues”), the anecdotal cheeky blues narrative is unforgettable. It features Big Joe Turner at his finest.
Speakers Corner Records 180-gram vinyl re-mastering is phenomenal. The stereo separation of this sixty-year-old recording is flawless. With Turner’s smoky voice centered in the mix, the reeds and horns are rendered with both clarity and mellowness. This vinyl pressing is immaculate with limited surface noise. » Robbie Gerson, Audiophile Audition, Dec 4, 2019
That the experts inducted 'Big Joe' Turner into the Blues Hall of Fame in 1983, i.e. during his lifetime, is surely in order when one considers how he expressed his attitude to life with his 12-bar stylistic freedom. That he was additionally honoured by being posthumously inducted into the Rock and Roll Hall of Fame, however, makes one wonder whether the incorruptible experts had made a mistake. No matter what: this giant of a man with his big, gentle voice had certainly earned a place of honour in the era of swing as well.
Turner, who appeared on stage with Goodman, Ellington, Tatum and – in later years – with Gillespie and Eldridge, offers his listeners many facets of the blues. The opening number, "Switchin’ In The Kitchen", is a fairly fast boogie-woogie where the vocal swings freely with sharp blasts in the background. Other swinging numbers, in which jazz champions such as Coleman Hawkins and Ernie Royal perform solos, include several ballad-like evergreens ("Pennies From Heaven"), which Turner and his band elaborate to become an imposing aria ("Until The Real Thing Comes Along").
The grooves of this LP are distinguished by means of the open, unfiltered Atlantic sound. The saxophone solos in particular, complete with the clicking of the valves and blowing noise, give one the feeling that the soloist is performing in your living room.
Ratings :
AllMusic : 4 / 5 , Discogs : Rate Your Music :