Norris Turney (September 8, 1921, Wilmington, Ohio – January 17, 2001, Kettering, Ohio) was an American jazz flautist and saxophonist.
Turney began his career in the Midwest, playing in territory bands such as the Jeter-Pillars Orchestra. He played with Tiny Bradshaw in Chicago before moving to New York City, where he played with the Billy Eckstine Orchestra in 1945-46. Turney had little luck in New York, however, and returned to Ohio to play in local ensembles through the 1950s. He toured with Ray Charles in 1967, then was hired by Duke Ellington, in whose orchestra he played from 1969 to 1973. He was hired to play alto saxophone as an "insurance policy" due to the failing health of Johnny Hodges. He was the first flute soloist to ever play in Ellington's orchestra. He also played tenor saxophone in the band.
Following his tenure with Ellington, he played with the Savoy Sultans and the Newport All-Stars, as well as in several pit orchestras. In the 1980s, he toured and recorded as a member of the Oliver Jackson Quintet, with Ali Jackson, Irvin Stokes, and Claude Black.
Turney recorded as a leader between 1975 and 1978, and released the CD, Big, Sweet 'n Blue in 1993. He died of kidney failure in 2001.
One of the last great Ellingtonians, Norris Turney was the first flute soloist that the Duke Ellington Orchestra ever had. He was also a lyrical altoist influenced by Johnny Hodges and (when called for) an excellent tenor saxophonist too. He started his musical career playing in the Midwest with territory bands like the Jeter-Pillars Orchestra; he was also briefly with Tiny Bradshaw in Chicago and then relocated to New York. Turney was part of the Billy Eckstine Orchestra from 1945-1946, but fame would elude him for many years. He soon returned to Ohio and mostly played with local groups. In 1967, Turney toured with Ray Charles, but it was not until his period with Ellington (1969-1973) that his talents were fully recognized. Since that time he has been a member of the Savoy Sultans, the Newport All-Stars, various pit orchestras, and any situation where his versatility and swinging style can be most appreciated. As a leader, Norris Turney led dates during 1975-1978 for Master Jazz, the tiny Harlem label, Black & Blue, and in 1993 for Mapleshade. He died in Ohio of kidney failure in mid-January, 2001. ~ Scott Yanow
The Tracking Angle raves: "...jawdropping. The track slam, the cymbals shimmer; the bass plucks, the wood resonates; the piano hammer glows ... utterly authorative". Our acclaimed recording of the ballads and blues of an alto player whose sound I can’t forget, the man the Duke found to replace Johnny Hodges. Wynton Marsalis said: “If I had one-tenth the ability to swing as Norris Turney, I could die a happy man.” We hooked Norris up with three of Cannonball Adderley’s best rhythm players: Larry Willis, Walter Booker and Jimmy Cobb. The instant magic between them created a jazz and audiophile classic.
Mapleshade has garnered wide praise for its sonically pure recordings. Pierre Sprey records straight to two-track analogue with never more than a handful of mikes, minimal cable-lengths, no EQ, no echo plates, no mixing board. This disc stands as Sprey's most life like disc to date and that's saying a great deal. Norris Turney, who took over Johnny Hodges' seat in the last Duke Ellington band, has as big and sweet and rich a sound on the alto sax as you're likely to hear and, from the first blaring note, Sprey captures it with jaw-dropping fidelity. The traps slam, the cymbals shimmer; the bass plucks, the wood resonates; the piano hammers and glows. You have to go back to some of those Ellington/Hodges LPS, the original six-eye Columbias, to get such a warm, detailed sound. Check out the rest of the band: pianist Larry Willis, a Mapleshade staple, who tosses off chords as if they were bouquets; Walter Booker, who's played bass for Cannonball Adderley, Sarah Vaughan and Pharaoh Sanders, to name a few; and Jimmy Cobb, the drummer on Miles Davis' Kind of Blue, At The Blackhawk and other gems. (You'll recognize the cymbal style.) They play standards, mainly from the Ellington book. Nothing adventurous but utterly authoritative. Music for that rainy day. - Fred Kaplan
Big, Sweet 'N Blue describes Norris Turney's alto sound perfectly. It's huge but sweetly expressive after all, he's the guy who replaced Johnny Hodges in the Ellington band! Hard to believe this is his first record as a leader, but it was worth the wait. Joined by veterans Jimmy Cobb (a member of Cannonball Adderly and Miles Davis's bands, and the only surviving player from Kind of Blue), Walter Booker (Adderly, Monk), and Larry Willis (Adderly, Jackie McLean, Stan Getz, Carmen McRae...), he turns in a masterful date, full of richly nuanced swagger. I can't believe that Sprey has managed to capture sax sound this big and powerful, while making it sound absolutely real. Turney's tone is breath made flesh: round, warm, solid, and-yes!-sweet. Willis's piano serves as the sax's perfect foil: softer and more liquid, but just as present. The rhythm section is a force of nature; one can hear the wind and running water in Cobb's brush work, and Booker's bass is as deep and solid as bedrock. Don't miss this one. - from QuarterNotes by Wes Phillips
One of Dayton, Ohio favorite son Norris Turney's rare outings as an album leader, Big, Sweet N' Blue opens with a piercing, robust blues wail. Turney's alto is a shock, a shout and a cry a bold announcement that some passionate musical business is about to take place. And throughout the CD, the man who replaced legendary Johnny Hodges in Duke Ellington's magnificent orchestra doesn't ever disappoint. The 72-year-old Turney might have warmly coasted with a band of his septuagenarian swing peers, delivering pleasant and timeless music that stopped far short of being gripping. But backed by some younger masters of hard bop Miles Davis Quintet drummer Jimmy Cobb; Cannonball Adderly/Hugh Masekela/Blood, Sweat & Tears pianist Larry Willis; and Thelonious Monk/ Pharaoh Sanders bassist Walter Booker Turney is on fire throughout Big, Sweet N' Blue, reveling in his huge alto tone, cutting to the bone on blues struts, making every ballad sound nakedly romantic, and revisiting hallowed Ellingtonia without either easy nostalgia or any whiff of the academic. This is a frankly sensational session, offering ample evidence of why Turney was declared an Arts Midwest "Jazz Master" in 1994, and why the great Ellington wrote songs in his honor. Big, Sweet N' Blue also reminds listeners of what a propulsive drum magician Jimmy Cobb is. In particular, his cymbal work has lost none of its alertness, brightness, punch or immediacy since the fabled days of Kind of Blue and Someday My Prince Will Come. Terrific recording quality is another one of the CD's bonuses it really sounds as though you're in the room with these all-stars, eavesdropping. - Tom Surowicz
Can you believe this is Norris Turney's first small group date as a leader? The record companies are so youth-infatuated that they overlooked this master, but Mapleshade knew the number at least after Dayton, OH jazz presenter Dave Barber pulled Pierre Sprey's coat to his hometown treasure's desire to do this date. A quick run through these ten selections and one hears the wisdom in Arts Midwest's 1994 Jazz Master award presented to Mr. Turney. If you need any clues as to the origins of the album title, once you plug this one in and peep the big, soulful blue note Turney calls 'em home with to open the date, you won't be clueless about Norris Turney ever again. This date's about the blues, ballads and Ellingtonia suitable sign posts for the man who replaced Johnny Hodges in the Duke's orchestra. Turney is joined by Larry Willis on piano, Jimmy Cobb on drums and Walter Booker on bass. Throughout, Norris Turney plays with a grace that marks truly seasoned mastery. His tone is priceless in its expansiveness and zest for swing. Highly recommended. - Willard Jenkins
Since there are not that many alumni of Duke Ellington's orchestra active, it is surprising that altoist Norris Turney (who was with Ellington from 1969-1973 and eventually replaced the unreplaceable Johnny Hodges) has not been recorded all that extensively during the 20 years since. In fact, his Mapleshade debut is the 72-year-old's first session at the head of a quartet and the music's obvious success is even more impressive when one realizes that Turney had never played with the other musicians (pianist Larry Willis, bassist Walter Booker, and drummer Jimmy Cobb) before. Norris Turney is a melodic swing player with a large tone and, since the rhythm section is quite supportive and sympathetic, these renditions of blues, ballads, and standards (including his own "Checkered Hat" and three Ellington/Strayhorn pieces) came together rather quickly. Highlights include the lengthy "Blues for Edward," "Blood Count," and "Come Sunday." ~ Scott Yanow
This listing is for a very rare audiophile, a 24kt GOLD CD title - a USED / OPENED, in Near Mint minus overall condition GOLD CD set PRESSED and ISSUED by MAPLESHADE Recordings of a highly collectible title, featuring -
Norris Turney
24kt GOLD CD Title -
Big, Sweet 'N Blue
Track Listing -
1. Blues For Edward - 10:51
2. Here's That Rainy Day - 7:47
3. Blues In B - 7:40
4. Checkered Hat - 6:42
5. I Can't Give You Anything But Love - 5:24
6. Streets Of Dreams - 8:53
7. In A Mellow Tone - 7:53
8. Blood Count - 9:19
9. I've Never Been In Love Before - 8:02
10. Come Sunday - 4:03Performers on this GOLD CD include -
• Alto Saxophone – Norris Turney
• Bass – Walter Booker
• Drums – Jimmy Cobb
• Piano – Larry Willis
This GOLD CD is from the MAPLESHADE Recordings series of CDs.
The GOLD CD, JEWEL CASE AND INSERTS are all in Near MINT minus overall condition! The
CD was play tested in our audio system and performed perfectly. There
are no serious marks on the reflective side of the disc that we could see,
perhaps a light mark or two only - nothing serious.
This CD is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).
Do not let this rarity slip
by!