As it turned out, On the Spur of the Moment was the last recording by the joint Stanley Turrentine/Horace Parlan Quintet. He sat in with Turrentine one more time, in 1971, for Stanley's CTI recording Salt Song. Horace went on to have a fine career of his own and in 1973, he moved to Copenhagen, later settling in a small village in southern Zealand. His later work included a series of duos steeped in gospel music with the tenor saxophonist Archie Shepp.
In June 1961, Stanley recorded a pair of albums with his wife, the organist Shirley Scott (I may have forgotten to mention that Stanley married Shirley sometime in 1960). They were a little coy about recording together, as on the Shirley Scott album, Hip Soul, Stanley performed under the name "Stan Turner," and on the Stanley Turrentine album, Dearly Beloved, Shirley performed under the name "Little Miss Colt." There must have been a memo from Blue Note HR or something about married couples performing together.
In any event, on June 2, 1961, Stanley and Shirley recorded the album Hip Soul under Shirley's name, with Herbie Lewis on bass and Roy Brooks on drums. A week later (June 8), they recorded the album Dearly Beloved as the Stanley Turrentine Trio, featuring Brooks on drums (if Jimmy Smith taught us anything, it's that a jazz organist doesn't necessarily need a bass player). Both sets were recorded by Rudy Van Gelder in his Englewood Cliffs studio.
Shirley's Hip Soul included a cover of Stanley's Time, which was featured on the Up At Minton's live album by the Stanley Turrentine Quartet, as well as another Turrentine composition, the titular Hip Soul, and a cover of John Coltrane's Trane's Blues. Stanley's Dearly Beloved included one original composition, Wee Hour Theme; the rest of both albums were covers of mostly show tunes, as was the style back then.
Steve Legget's review of Dearly Beloved for AllMusic.com neatly puts the recording into biographical perspective:
Stanley Turrentine was fresh from his brilliant playing on Hammond B-3 maestro Jimmy Smith's Midnight Special and Back at the Chicken Shack sessions when he officially signed with Blue Note Records in 1960, but although the hard bop sax/organ template (which later came to be called soul-jazz) seemed to fit Turrentine like a glove, his first sessions for the label found him working with a more standard jazz format highlighted by a piano-led rhythm section. On Dearly Beloved, though, paired with his eventual wife, Shirley Scott, on the B-3 and the alert and sensitive drumming of Roy Brooks, Turrentine found the perfect pocket for his big, soulful, and slightly raw and bluesy sax tone, and for those only familiar with his later pop crossover recordings with CTI Records, it's a pretty revelatory set. Tracked at a June 8, 1961 session (and released on LP a year later in 1962), Dearly Beloved features a lightly funky and midtempo take on Ary Barroso's Baia and a gorgeous and moving version of Turrentine's own ballad composition, Wee Hour Theme, the perfect example of how jazz is never more than a thought away from being the blues. Scott and Turrentine ended up working together on some 15 albums for the Blue Note, Atlantic, Prestige, and Impulse labels before the decade ended, but this one, for all practical purposes, got the ball rolling on their creative collaborations, and it remains one of Turrentine's finest Blue Note outings.
Not only due to "equal time," but because it's significant in its own right, here's Stewart Mason's AllMusic review of Hip Soul:
In all but name, 1961's Hip Soul is a duet album between organist Shirley Scott and her new husband, Stanley Turrentine (playing under the name Stan Turner to avoid contract issues), whose excellent bop tenor dominates the entire album to the extent that sometimes Scott seems like a sideman on her own date. However, when she lets off with a characteristically joyous solo like the one at the heart of the standard By Myself, Scott's immense charms are obvious. An underappreciated master of the Hammond organ, Scott is one of the few players of her generation who declined to simply ape Jimmy McGriff, Jimmy Smith, or Jack McDuff (although she does cop to a clear Smith influence on the funky walking groove of the title track) in favor of creating her own distinctive sound. Highlights on this session include Turrentine's Brubeck-influenced Stanley's Time (with some of the couple's fiercest playing) and a meditative 11-minute take on Harold Arlen's ballad Out of This World that sounds like they'd been listening intently to Kind of Blue.
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