Stanley Turrentine’s most long lasting contributions to the American art form of jazz might come in the form of various samples that his playing resulted in during the hip hop era – everyone including deejay Premier’s made use of this man’s music. And while these snatched up snippets usually comprise simple rhythmic figures, Turrentine’s saxophone work on not just his solo dates, but backing folks like Jimmy Smith and Max Roach.

While his time recording from CTI yielded some of his most culturally impactful work, there were scores of recordings issued through other imprints. And for his 1964 date entitled Hustlin’ the Blue Note imprint was lucky enough to issue the disc.

Accompanied by his wife, Shirely Scott, one of the better, if not better known organ players from the soul jazz era, as well as Kenny Burrell on guitar, Bob Cranshaw taking bass duties and Otis Finch behind the drum set, the tenor player turns in a surprisingly even and thoroughly entertaining set of compositions.

Part of what made Turrentine such a popular player, though, was his music’s inoffensiveness. It can’t be figured that there’s a lack of fire behind his playing, specifically on “Ladyfingers,” but Turrentine’s work is regularly upstaged by Scott’s warm organ vamps and solos.

Again, with such an adept band behind him, it’d be easy for Turrentine to let the band work up a backing for his solos. But granting these considerable talents avenues to express themselves was both a way to get some fine playing down on tape and to add some spice to the date. There’s a reason why Turrentine’s not the biggest name in jazz. And his work here is why.

Beginning “Something Happens To Me” with some impressive soloing, even the brief pauses between the date leader’s breathe’s are usurped by Scott’s organ. Of course, this happens endlessly on this date – and probably why Turrentine performed with her so often. She was a tremendous player.

After getting out those solos, though, Scott’s a bit of solo space subsequent to Burrell being featured. The guitarist’s and the organist’s playing actually comes off as more similar than that of Turrentine’s and his better half’s. Scott’s a bit more quick to come around on those changes than Burrell, but when it’s time for the song to shift back to Turrentine’s feature, there’s a noticeable drop in energy.

That track’s a pretty decent distillation of Turrentine’s career even if some of his compositions have worked their way into the general American consciousness. Just take a listen to “Cherry” at some point.