A large ensemble session where Marcus's orchestral arrangements give Turrentine's horn a lush, unexpected setting.
What makes Everybody Come On Out memorable is the presence of Wade Marcus, the arranger and conductor who shaped this session. By 1976, Turrentine was a seasoned voice in jazz, but Marcus had a different idea: wrap the saxophonist in a full orchestra, the kind of setting you'd find in a pop or soul session, and let him play current hits through a jazz lens. The result is neither pure jazz nor pop, but something in between—strings, brass, and rhythm designed to support Turrentine's warm, soulful tone rather than challenge it.
Recorded in March 1976 for the Fantasy label, the album captures a moment when jazz musicians were still willing to engage directly with popular music without apology. Marcus's arrangements don't condescend to the material; instead, they elevate it. The orchestra breathes with the saxophonist, giving him room to phrase naturally while the ensemble adds color and weight. It's a session-heavy approach, a big group working together in real time, the kind of thing you don't hear as often anymore.
This isn't Turrentine at his most challenging or exploratory. It's closer to a commercial move, something designed to reach listeners beyond the jazz audience. Whether that matters depends on what you want from him. If you're looking for Turrentine in a more straightforward jazz setting, look elsewhere. If you're curious about how a skilled arranger and a resourceful soloist handled the pop standards of their day, this session documents that moment clearly.