Album Information Section

Album Title: Cherry

Artist: Stanley Turrentine, Milt Jackson

Original Release Date: 1988

Label: CTI

Genres: Jazz, Smooth Jazz, Soul Jazz

Track Listing:

• 1. Speedball (6:35)
• 2. I Remember You (5:10)
• 3. The Revs (8:00)
• 4. Sister Sanctified (6:00)
• 5. Cherry (5:10)
• 6. Introspective (6:55)

Recording Information

The album “Cherry” was recorded at the renowned Van Gelder Studio, located in Englewood Cliffs, New Jersey, a space synonymous with jazz recording excellence. The sessions took place in 1988, a period marked by a rich evolution of jazz styles. The album was produced by the influential Creed Taylor, a significant figure in the jazz world known for his work with CTI Records and his ability to blend jazz with pop elements. The engineering duties were handled by Rudy Van Gelder himself, whose techniques and equipment have left an indelible mark on jazz recording. Van Gelder’s signature sound, characterized by clarity and warmth, is evident throughout the album.

One notable production aspect of “Cherry” is the use of live, organic instrumentation, which captures the essence of spontaneous jazz performances while also ensuring a polished final product. The collaboration between Turrentine and Jackson is particularly noteworthy, as both artists brought their unique styles to the recording, resulting in a cohesive yet diverse sonic landscape.

Band Context

At the time of the album’s recording in the late 1980s, Stanley Turrentine and Milt Jackson were both seasoned musicians with established careers. Stanley Turrentine, a celebrated tenor saxophonist known for his robust sound and soulful approach to jazz, had already made significant contributions to the genre with numerous albums under his belt. Milt Jackson, a master vibraphonist and founding member of the Modern Jazz Quartet, was revered for his melodic sensibility and rhythmic prowess.

This collaboration was significant as it marked a reunion of sorts; Turrentine had previously worked with Jackson in various contexts, and “Cherry” allowed them to explore their musical chemistry further. Prior to this album, Turrentine was moving towards a more commercial sound, aligning with the smooth jazz movement, while Jackson was continuing to expand his musical horizons beyond the confines of traditional jazz. The late 1980s were a transformative time for jazz, as artists sought new ways to connect with broader audiences, and Turrentine and Jackson were no exceptions.

Track Commentary

The opening track, “Speedball,” sets an energetic tone with its lively rhythm and dynamic interplay between the saxophone and vibraphone, showcasing the distinctive styles of both artists. The composition is characterized by its infectious groove, inviting listeners into the album’s vibrant world. “I Remember You” follows with a more reflective mood, highlighting Jackson’s lyrical vibraphone lines and Turrentine’s warm, expressive saxophone tones, creating a poignant dialogue between the two instruments.

“The Revs” introduces a more complex arrangement, allowing both musicians to showcase their improvisational skills. The track features intricate harmonies and a sophisticated structure that underscores the depth of their artistry. “Sister Sanctified,” with its soulful undertones, delves into bluesy themes, while “Cherry,” the title track, offers a lighter, more playful vibe, encapsulating the essence of the album’s overall spirit.

The closing track, “Introspective,” serves as a contemplative finale, blending smooth jazz elements with deeper emotional resonance, leaving listeners with a lingering sense of connection to the music. Overall, “Cherry” received critical acclaim for its seamless blend of styles and the synergy between Turrentine and Jackson. Songs like “Speedball” and “I Remember You” have become standout tracks in their respective repertoires, further solidifying the album’s legacy in the jazz canon.

In conclusion, “Cherry” represents a unique collaboration between two jazz legends, capturing a moment in time where innovation met tradition, and where the boundaries of jazz were continually being redefined.