Shirley Scott - Roll 'Em: Shirley Scott Plays The Big Bands (1966) [CD]

Shirley Scott’s Roll ‘Em is interesting on several levels, the first being that you are no doubt already keenly aware of the songs Shirley is laying down here with her seventeen-piece big band, so it’s a hoot to simply sit back and listen to the tunes without the due consideration jazz-listening often requires. Secondly, there’s nothing unexpected delivered on this record, everything … the enunciation, the chords, the notes, the take, it’s all been done before, leaving Roll ’Em to simply be a breezy foray into the musical insights and sounds that are created here. Though when "Stompin' At The Savoy" washed across my listen space, I was raptured with the flanking path Scott’s organ took this song. Oddly enough, when one considers women in jazz, the first names that come to mind are usually the singers, Ella Fitzgerald or Billie Holiday, perhaps because singers are easier to spot and identify. Shirley was a lush beautiful petite and very powerful for her size and time, so it sparked my imagination that she might be taking on these songs purposely, numbers that seemed rather too large or expansive for a woman to embrace, where Scott shows the world that she’s more than capable of helming a big band, charting its course, and coming out the other side proving that she can stand toe to toe with anyone when it comes to music that is easily compared. So, while I don’t want to dismiss this outing as uninventive or not being challenging enough, it is impressive to hear Shirley create perfect flawless circles, that while not bold or majestic, hit at the heart of all that’s pure, and dare I suggest innocent, when it comes to the purest elements of sophistication. After all, a simple black dress with an understated string of pearls speaks volumes, without the need for showiness or exuberance. ~ by Jenell Kesler, discogs.com. 

Impulse! Records, AS-9119, 1972
GRP Records, GRD-147, 1994
Recorded 15th (#7-10) & 19th (#1-6) April, 1966 at Van Gelder Studio, Englewood Cliffs, NJ 

Personnel:
========
#1-4:
Shirley Scott - Organ
Thad Jones, Joe Newman, Jimmy Nottingham, Ernie Royal, Clark Terry - Trumpet
Paul Faulise, Quentin Jackson, Melba Liston - Trombone
Tom McIntosh - Trombones
Phil Woods, Jerry Dodgion - Alto Saxophone
Bob Ashton, Jerome Richardson - Tenor Saxophone
Danny Bank - Baritone Saxophones
Attila Zoller - Guitar
George Duvivier - Bass
Grady Tate - Drums
Oliver Nelson - Conductor, Arranger 

#5-6:
Shirley Scott - Organ, Arranger (#5)
George Duvivier - Bass
Grady Tate - Drums 

#7-10:
Shirley Scott - Organ
Richard Davis - Bass
Ed Shaughnessy - Drums 

Tracks:
01. Roll 'Em {Mary Lou Williams} (4:08)
02. For Dancers Only {Don Raye, Sy Oliver, Vic Schoen} (3:43)
03. Sophisticated Swing {Mitchell Parish, Will Hudson} (2:50)
04. Sometimes I'm Happy {Grey, Caesar, Youmans} (3:53)
05. Little Brown Jug {Joseph Eastburn Winner; Arr. Shirley Scott} (3:57)
06. Stompin' At The Savoy {Razaf, Goodman, Webb, Sampson} (3:58)
07. Ain't Misbehavin' {Andy Razaf, Harry Brooks, Fats Waller} (3:31)
08. A Tisket A Tasket {Ella Fitzgerald, Van Alexander} (3:55)
09. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:19)
10. Tippin' In {Bobby Smith, Marty Symes} (4:33) 

Total Time: 39:54 

Credits:
Producer - Bob Thiele
Recording Engineer - Rudy van Gelder
Reissue Producer - Michael Cuscuna
Executive Producer - Dave Grusin, Larry Rosen 

Organist Shirley Scott focuses on swing-era tunes throughout this enjoyable album. Four songs showcase her organ accompanied by a 17-piece big band arranged by Oliver Nelson while the remaining six numbers find her jamming with a trio that also includes either George Duvivier or Richard Davis on bass and Grady Tate or Ed Shaughnessy on drums. Although nothing all that unexpected occurs, it is fun to hear an organ performing such numbers as "For Dancers Only," "Little Brown Jug" and "Stompin' At The Savoy." ~ Scott Yanow, AMG

Sometimes I'm Happy

Eddie "Lockjaw" Davis with Shirley Scott - Smokin' (1958) [re-rip]

Tenor saxophonist Eddie "Lockjaw" Davis recorded enough material over these two sessions to fill up four records. The seven selections included on this album were recorded during the same period as Davis's better-known Cookbook albums. The album includes: Jerome Richardson swapping between baritone, flute and tenor on three of the tunes; bassist George Duvivier; drummer Arthur Edgehill and of course the 'Queen of the Organ' Shirley Scott. As a group the players swing hard covering some solid originals by both Eddie and Shirley, some blues and an occasional ballad. It is not hard to see why this Eddie "Lockjaw" Davis band was very popular in its time being such a powerful and accessible band even today's mixed jazz world. A definite classic of this genre. ~ Extract by Scott Yanow, AMG. 

Prestige Records, PRST 7301, 1963
Recorded on 12th September (#A3,B1,B3,B4)
& 5th December, 1958 (#A1,A2,B2) Hackensack, New Jersey 

Musicians:
Eddie "Lockjaw" Davis - Tenor Saxophone
Jerome Richardson - Baritone Sax (#A1), Flute (#A2), Tenor Sax (#B2)
Shirley Scott - Organ
George Duvivier - Bass
Arthur Edgehill - Drums 

Tracks:
A1. High Fly {Randy Weston} (6:14)
A2. Smoke This {Eddie "Lockjaw" Davis, Shirley Scott} (6:05)
A3. Pennies From Heaven {Johnny Burke, Arthur Johnston} (5:14)
B1. Pots And Pans {Eddie "Lockjaw" Davis, Shirley Scott} (3:27)
B2. Jaws {Eddie "Lockjaw" Davis, Shirley Scott} (5:28)
B3. It's A Blue World {George Forrest, Robert C. Wright} (5:01)
B4. Blue Lou {Irving Mills, Edgar Sampson} (3:39) 

Total Time: 35:08 

Credits:
Supervision - Esmond Edwards
Recording Engineer - Rudy van Gelder
Cover Design, Photo - Don Schlitten
Liner Notes - John D. Monroe (November 1963)

If you enjoy this great LP don’t forget to check the previous post:
Eddie "Lockjaw" Davis with Shirley Scott - Misty (1963)

Shirley Scott - Shirley Scott & The Soul Saxes (1969) [vinyl]

One of Scott’s best albums, Shirley Scott and the Soul Saxes finds the organist on a 1969 set of mostly soul covers. This was one of her few dates for the soul-heavy Atlantic label, but it certainly qualifies as a standout in the entire soul-jazz catalog. Joined by the royal sax trio of David Newman, King Curtis, and Hank Crawford, Scott plies her smooth, yet deep B-3 alchemy atop a stellar rhythmic pulse supplied by Chuck Rainey, Bernard “Pretty” Purdie, and Richard Tee. And this fine contingent does not fail to please, especially on a joyous take of “More Today Than Yesterday” and the gospel-infused “I Wish I Knew (How It Feels Like to Be Free).” The versions of classics by the Isley Brothers, Aretha Franklin, and the Beatles aren’t bad either. ~ Stephen Cook, AMG.

Atlantic Records, SD 1532, 1969

Recorded 10^th September, 1968 (#A3) in New York City; 9^th July, 1969 (#A1,B1,B2)

and 10^th July, 1969 (#A2,B3,B4) at Regent Sound Studios, New York

Musicians:

Shirley Scott - Organ

Ernie Royal - Trumpet (#A1,A2,B1-B4)

Hank Crawford - Alto & Baritone Saxophones (#A1,A2,B1-B4)

King Curtis - Tenor Saxophone (#A1,A2,B1-B4)

David "Fathead" Newman - Tenor Saxophone, Flute (#A1,A2,B1-B4)

Richard Tee - Piano (#A1,A2,B1-B4)

Eric Gale - Guitar

Chuck Rainey - Electric Bass (#A1,A2,B1-B4)

Jerry Jemmott - Electric Bass (#A3)

Bernard Purdie - Drums (#A1,A3-B2)

Jimmy Johnson - Drums (#A2,B3,B4)

Tracks:

A1. It's Your Thing {O'Kelley Isley, Ronald Isley, Rudolph Isley} (4:27)

A2. [You Make Me Feel Like] A Natural Woman {Carole King, Gerry Goffin, Jerry Wexler} (4:17)

A3. I Wish I Knew How It Would Feel To Be Free {Billy Taylor, Dick Dallas} (6:20)

B1. You {Ivy Hunter, Jack Goga, Jeffrey Owen} (5:40)

B2. Stand By Me {Ben E. King, Elmo Glick} (4:02)

B3. Get Back {John Lennon, Paul McCartney} (4:43)

B4. More Today Than Yesterday {Patrick Upton} (3:37)

Credits:

Producer - Joel Dorn

Marty Sheller - Arranger, Conductor (except #A3)

Engineer - Adrian Barber (#A3), Bob Liftin (#A1,A2,B1-B4)

Engineer [Re-Mix] - William Arit

Photography [Backliner] - Joel Brodsky, Walter Looss

Photography [Cover] - O. Vernon Matisse

Total Time: 33:08

Eddie "Lockjaw" Davis with Shirley Scott - Moodsville Volume 4 (1960) [vinyl>flac]

Among the finest Moodsville recordings, and there were quite a few, were the ones by tenor saxophonist Eddie "Lockjaw" Davis. During the late '50s and early '60s, the tough tenor was a hard-charging exclamation point whether backed by a trio, a soul-gospel organ or Count Basie's band. But on ballads - really slow ones - Davis had room to snort, shove notes around and proudly exhibit his huge, bossy sound on the reed instrument. In January 1960, Davis recorded on the Moodsville label with Shirley Scott. Known primarily for her work on the Hammond organ, Scott here plays piano, which gives you a chance to hear her in a different space. The pair was supported exquisitely by bassist George Duvivier and drummer Arthur Edgehill. Each of the 8 songs featured virtually the exact same seductive walking tempo, and all the songs were standards that suited Davis perfectly. Great players like Davis and Scott could leave a cloud of dust when playing up-tempo. But they also could break your heart on the crawlers. This is a fine example of that side of their personalities, particularly the clarity of their improvisation and Davis' gruff touches. I'm not sure why Prestige hasn't reissued all of these Moodsville albums in a set, but such is life. You'll find seven of the tracks on Moodsville, Vol. 4 on Eddie "Lockjaw" Davis with Shirley Scott: The Complete Cookbook Sessions. While it's not as "complete" as the title would lead you to believe, since not all the Moodsville, Vol 4 tracks are here, but the sound is absolutely fantastic. ~ Extract by Marc Myers, JazzWax.

Moodsville Records, MVLP 4, 1960

Recorded 31^st January, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Eddie "Lockjaw" Davis - Tenor Saxophone

Shirley Scott - Piano

George Duvivier - Bass

Arthur Edgehill - Drums

Tracks:

A1. Serenade In Blue {Harry Warren, Mack Gordon} (4:07)

A2. It Could Happen To You {Jimmy Van Heusen, Johnny Burke} (5:32)

A3. What's New {Bob Haggart, Johnny Burke} (3:49)

A4. I Cover The Waterfront {Edward Heyman, Johnny Green} (5:28)

B1. The Man I Love {George Gershwin, Ira Gershwin} (4:14)

B2. Smoke Gets In Your Eyes {Jerome Kern, Otto Harbach} (4:24)

B3. The Very Thought Of You {Ray Noble} (6:15)

B4. Man With A Horn {Eddie de Lange, Jack Jenney, Bonnie Lake} (4:23)

Total Time: 38:12

Credits:

Recording Engineer - Rudy van Gelder

Liner Notes - Ron Eyre

For further insight into Shirley Scott see: Interview with Marian McPartland

MP3 Pro recording of this included in archive.

Shirley Scott - Great Scott! (1958) [vinyl>flac]

Scott's first album as a bandleader put her at the head of a trio, backed by the rhythm section of George Duvivier on bass and Arthur Edgehill on drums. While she'd already established herself as an organist of note in Eddie "Lockjaw" Davis' band, Great Scott! was her first out-front contribution to popularizing the organ in a jazz format that also drew on parts of blues and soul music. She displays admirable command of the instrument's swoops and funky glows here, mixing up hard-charging up-tempo numbers, ballads, Latin-influenced tunes ("Brazil" and "Nothing Ever Changes My Love for You"), and bluesy walking beats (as on her cover of Cole Porter's "All of You"). It's too bad that just one song is a Scott original, though, as that track, "The Scott," really bops along, with some of her most exuberant slides and forceful chording. ~ extract by Richie Unterberger, AMG.

Prestige Records, PRLP 7143, 1959

Recorded 23^rd May, 1958 at Van Gelder Studio, Hackensack, New Jersey

Musicians:

Shirley Scott - Organ [Hammond]

George Duvivier - Bass

Arthur Edgehill - Drums

Tracks:

A1. The Scott {Shirley Scott} (3:10)

A2. All Of You {Cole Porter} (3:23)

A3. Four {Miles Davis} (3:54)

A4. Goodbye {Gordon Jenkins} (5:01)

B1. Nothing Ever Changes My Love For You {Marvin Fisher, Jack Segal} (4:41)

B2. Trees {Joyce Kilmer, Oscar Rasbach} (7:01)

B3. Cherokee {Ray Noble} (5:24)

B4. Brazil {Ary Barroso} (2:28)

Credits:

Producer - Bob Weinstock

Recording Engineer - Rudy van Gelder

Liner Notes - Ira Gitler

Shirley Scott - Shirley's Sounds (1958,60) [re-rip]

There's a good reason why Scott's second album as a bandleader sounds very much like her first, Great Scott!, for both albums were cut at the same May 23, 1958, session. On Shirley's Sounds, Scott's again backed by the rhythm section of George Duvivier on bass (though George Tucker takes over the instrument for one number, "Bye Bye Blackbird") and Arthur Edgehill on drums. Like its predecessor, it's superior early organ jazz, full-sounding but streamlined owing to the trio format. Devoted entirely to outside compositions, the tracks capture both her virtuosic skill on the organ and her taste, squeezing the bluesiest inflections out of a standard like "Summertime." "(Back Home Again In) Indiana" is the cut that cooks the hardest, and blues colors are a big part of her interpretations of "Baby Won't You Please Come Home" and "I Can't See for Lookin'." ~ by Richie Unterberger, AMG.

Prestige Records, PRLP 7195, 1961
Recorded 23rd May (#A1-A3,B1-B3); 23rd October (#B4), 1958 and
8th April (#A4), 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Shirley Scott - Organ [Electric]
George Duvivier - Bass
George Tucker - Bass (#A4)
Arthur Edgehill - Drums

Track Listing:
A1. It Could Happen To You {Johnny Burke, Jimmy Van Heusen} (4:34)
A2. Summertime {George Gershwin, Dubose Heyward} (3:59)
A3. There Will Never Be Another You {Mack Gordon, Harry Warren} (3:22)
A4. Bye Bye Blackbird {Mort Dixon, Ray Henderson} (6:39)
B1. S'Posin' {Andy Razaf, Paul Denniker} (4:18)
B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (4:03)
B3. [Back Home Again In] Indiana {Ballard MacDonald, James F. Hanley} (3:24)
B4. I Can't See For Lookin' {Dave Bartholomew} (4:12)

Credits:
Producer - Bob Weinstock
Recording Engineer - Rudy van Gelder
Liner Notes - Joe Goldberg

Shirley Scott - Satin Doll (1963) [re-rip]

This 1963 release, which was recorded two years earlier, was one of two Duke Ellington tributes that organist Shirley Scott (1934-2002) recorded for the Prestige label. It was Scott's second album of Duke Ellington compositions after Scottie Plays the Duke (1959). The bare bones session had Scott backed by just bass (George Tucker) and drums (Mack Simpkins) and the music is a little more sedate than what you'll find on most of the organist's LPs. The Satin Doll album has not been released on CD. ~ Guitars and All That Jazz

With George Tucker on bass and Jack Simpkins on drums. A bit more prim, though Scott still burns. ~ by Ron Wynn, AMG.

The Merger of Scott and Ellington is a delight in harmonic contrasts. Miss Scott retains her warm, blues-rooted feeling which gently mingles with the lyric quality of these great Ellington standards, and she is both individual and sophisticated in her interpretations. Shirley’s ability to attack lyrical tunes without forfeiting her verve, fire or personal feelings of lament, herald her arrival as a major figure in the world of modern jazz. ~ Excerpts from Liner Notes by Les Davis (July 1963).

This LP is another beautiful tribute by Shirley Scott to the great Duke Ellington. For this album Scott remains within a tight trio grouping. George Tucker’s bass lines, backed up by Mack Simpkins’ deft drumming, beautifully accentuate Shirley’s organ romps. In Essence it is another brilliant soul jazz excursion from the 'Queen of the Organ'.

Prestige Records, PRLP 7283, 1963

Recorded 7th March, 1961 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

George Tucker - Bass

Mack Simpkins - Drums

Tracks:

A1. Satin Doll {Duke Ellington, Johnny Mercer, Billy Strayhorn} (5:10)

A2. It Don't Mean A Thing [If It Ain't Got That Swing] {Duke Ellington, Irving Mills} (5:34)

A3. C Jam Blues {Barney Bigard, Duke Ellington} (5:18)

B1. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (4:32)

B2. Mood Indigo {Barney Bigard, Duke Ellington, Irving Mills} (3:38)

B3. Things Ain't What They Used To Be {Mercer Ellington, Ted Persons} (3:48)

B4. Solitude {Eddie DeLange, Duke Ellington, Irving Mills} (4:24)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Les Davis (July 1963)

Shirley Scott - Like Cozy (1960) [re-rip]

Here we have a classic Moodsville LP showcasing an early Shirley Scott Trio and yes for all those listeners that aren’t so keen on the organ we get to hear Shirley [Side A] reveal her prowess on the piano with a salient performance of some well-known jazz standards. In many ways her sound appears almost more lyrical than her organ work [Side B]. In this regard we hear the sweet Hammond groove that was to become her forte, conveyed as always in a soulful and mellow manner. The overall mode of the album is a more laidback and intimate staging of Scott’s talents compared to some of her other work on Prestige. She is backed by her then renowned rhythm team George Duvivier on bass and Arthur Edgehill on drums - and titles include "My Heart Stood Still", "Once In Awhile", "Laura", "Like Cozy", "Little Girl Blue", and "More Than You Know".

Stylistically, Shirley Scott is an exponent of the jazz tradition established by Lester young, the great tenor saxophonist, and fulfilled by trumpeter Miles Davis. The French musicologist, Andre Hodeir, describes this quietly cooking, lyrical mode of jazz expression as "the Cool Tendency." As found in the best work of both the Pres and Miles, there is an economy of force in Miss Scott's playing, she does not dilute and diffuse the impact of her jazz message by using too many notes. Like Miles, she achieves a charming relaxation without sacrificing swing. She plays "pretty" without sounding sugar-coated or sentimental. Most importantly, Shirley is able to sustain a cozy, candle-lit mood fit for listening, dancing, or just plain relaxing with someone you like. ~ Extract from Liner Notes by Tom Wilson.

Moodsville Records, MV 19, 1960

Recorded 27^th September, 1960 at van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Piano (#A1-A4), Organ (#B1-B4)

George Duvivier - Bass

Arthur Edgehill - Drums

Tracks:

A1. You Do Something To Me {Cole Porter} (5:17)

A2. More Than You Know {Edward Eliscu, Billy Rose, Vincent Youmans} (4:07)

A3. Once In A While {Michael Edwards, Bud Green} (4:33)

A4. Little Girl Blue {Richard Rodgers, Lorenz Hart} (5:00)

B1. Laura {David Raksin, Johnny Mercer} (5:00)

B2. Like Cozy {Shirley Scott} (4:10)

B3. My Heart Stood Still {Richard Rodgers} (3:48)

B4. 'Deed I Do {Walter Hirsch, Fred Rose} (4:13)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Tom Wilson

Shirley Scott - Sweet Soul (1962) [re-rip]

Reissued from the "Happy Talk" session this features Earl May on bass and Roy Brooks on drums. It includes a nice "Jitterbug Waltz." All are standards. ~ by Michael G. Nastos, AMG.

Here we have another overlooked classic by the ‘Queen of the Organ’. On this date she keeps her trio’s focus on a number of classic jazz standards. Her performance and skills are exceptional and backed perfectly by other veterans; Earl May on bass and Roy Brooks on drums. This album recorded by Rudy van Gelder was to be the 2^nd release of this brilliant LP. The previous being Happy Talk [Prestige PR 7262]

Prestige Records, PR 7360, 1963

Recorded 5^th December, 1962 at Rudy Van Gelder Studio, Englewood Cliffs, NJ

Track Listing:

A1. Happy Talk {Richard Rodgers, Oscar Hammerstein II} (8:42)

A2. Jitterbug Waltz {Fats Waller} (5:26)

A3. My Romance {Richard Rodgers, Lorenz Hart} (4:50)

B1. Where Or When {Richard Rodgers, Lorenz Hart} (5:14)

B2. I Hear A Rhapsody {George Fragos, Jack Baker, Dick Gaspare} (4:59)

B3. Sweet Slumber {Lucky Millinder, Jimmy Woode} (5:25)

Personnel:

Shirley Scott - Organ

Earl May - Bass

Roy Brooks - Drums

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Dan Morgenstern

Shirley Scott - Lean On Me (1972) [vinyl]

A great little Shirley Scott album - perhaps her best for Cadet! Unlike the others, which have a complicated set of arrangements, this one has a stripped-down jazz funk feel that reminds us a lot of the classic early 70s groovers on Prestige Records. Shirley plays some very nice lines on the organ, over tight drums from Idris Muhammad that hit that tasty breakbeat sound on the best cuts! The standout numbers are the album's versions of "Lean On Me" and "By The Time I Get To Phoenix", both strong sample tracks with nice drums. The rest of the group includes George Coleman, Roland Prince, and J. Daniel Turner - and tracks include Carla's Dance", "Funky Blues", and "Royal Love". © Dusty Groove, Inc.

Cadet Records, CA 50025, 1972

Recorded and Mixed 1972 At Sound Exchange Studio, New York City

Musicians:

Shirley Scott - Organ

George Coleman - Tenor Saxophone

J. Daniel Turner - Alto Saxophone, Flute

Roland Prince - Guitar

Idris Muhammad - Drums

Tracks:

A1. Lean On Me {Bill Withers} (4:51)

A2. Royal Love {Shirley Scott} (5:07)

A3. Smile {Charlie Chaplin, Geoffrey Parsons, John Turner} (5:32)

A4. Funky Blues {Shirley Scott} (8:30)

B1. By The Time I Get To Phoenix {Jimmy Webb} (8:31)

B2. How Insensitive {Antônio Carlos Jobim, Norman Gimbel} (8:54)

B3. You Can't Mess Around With Love {Shirley Scott} (5:56)

B4. Carla's Dance {Shirley Scott} (5:09)

Credits:

Producer - Esmond Edwards

Supervision - Bob Scerbo

Engineer - Steve Katz

Mastering - Lee Hulko (Sterling Sound)

Art Direction - David Krieger

Coordinator [Album] - Mia Krinsky

Photography - Joel Brodsky

This is the 2^nd of Shirley Scott’s LP’s released on Cadet. She is joined by a powerhouse of other players including the formidable tenorist George Coleman, alto and flautist J. Daniel Turner, the remarkable guitarist Roland Prince and the mighty drummer Idris Muhammad. In many ways within this unique grouping Shirley takes a back seat, but between the other’s soloing she burst forth with some magnificent and striking lines on her gutsy organ. For this album she chooses some popular tunes and three of her own. But without a doubt having the presence of George Coleman in the mix this album truly evolves into a top-notch session; and with 46 years gone by it’s still a great chunk of jazz to get your teeth into, Enjoy!

Shirley Scott - Mystical Lady (1971) [vinyl]

An overlooked early 70's LP by the 'Queen Of The Organ'. The first of three albums she would cut for Cadet Records. At the age of 37 Shirley seeing the threat of the rock world started to turn her hand to a funkier soul jazz vibe. Her mastery on the organ is increasingly evident on this LP. She surrounds herself with a proven core of fine players, all of whom embrace and express the soul jazz style to the full on their own releases. For this album Shirley presents a number of covers of popular songs leaving space for only one her own co-written tunes. Overall the sound is dynamic and truly reflects how jazz musicians were trying to move with the times. This is a great sounding rip [DR 14] taken from an original LP, which is yet to surface as a CD. Enjoy!

Cadet Records, CA 50009, 1971

Recorded 1971 At Sound Exchange, New York, New York

Musicians:

Shirley Scott - Organ, Vocals (#A2)

George Patterson - Alto Saxophone (#B1)

Danny Turner - Tenor Saxophone (#A1,A2,B1,B2)

Pee Wee Ellis - Tenor Saxophone (#A3,B3)

Wally Richardson - Guitar (#A1,A2,B1,B2)

George Freeman - Guitar (#A3,B3)

Ron Carter - Bass (#A1,A2,B1,B2)

Richard Davis - Bass (#A3,B3)

Bobby Durham - Drums (#A1,A2,B1,B2)

Freddie Watts - Drums (#A3,B3)

Tracks:

A1. Mystical Lady {Esmond Edwards} (7:54)

A2. Your Song {Elton John, Bernie Taupin} (5:52)

A3. Hall Of Jazz {Shirley Scott, Gregg Hall} (6:17)

B1. Proud Mary {John C. Fogerty} (6:39)

B2. Love Dreams {George Patterson} (5:00)

B3. Let It Be {John Lennon, Paul McCartney} (7:14)

Credits:

Producer - Esmond Edwards

Recording Engineer - Steve Katz

Arranger - George Patterson (#A3)

Album Design - Maurer Productions

Eddie "Lockjaw" Davis with Shirley Scott - Misty (1963) [re-rip]

Here we have a classic outing of Eddie “Lockjaw” Davis alongside the Queen of the Organ Shirley Scott. Together with other well-known players, such as George Duvivier and Ray Barretto they set about to create quite wonderful experience for the listener. When Eddie was asked what the objective of his music was and its connection with this particular album, this is what he had to say:  "simplicity is my theme," and that is one comparative aspect of it. It isn't "head-dancing" music, but rather it is aimed at the most common sensibilities. But the music is also special. It belongs to, and is about Harlem. The experience that has provided its energy source has a special character because the situation of the Negro in America is unique and has no real parallel anywhere else.

In this album Davis' booming, sinewy tenor delineates seven good popular tunes; Misty, Uh! Oh!, Give Me A Goodnight Kiss, Moon On Manakoora, Just Friends, Speak Low and I Wished On The Moon, with affecting grace and the broad blues-charged power that is the ignition of his remarkable emotional thrust. ~ Excerpts from Liner Notes by Robert Levin.

Moodsville Records, MVLP-30 [Mono], 1963

Recorded 4th December, 1959 (#A1, A2) & 12th April, 1960 (#A3-B3) at Englewood Cliffs, New Jersey

Tracks:

A1. Misty {Erroll Garner, Johnny Burke} (3:44)

A2. Uh! Oh! {Don Elliott, Alexander Burland} (2:22)

A3. Give Me A Goodnight Kiss {Lee Morse} (5:40)

A4. Moon Of Manakoora {Frank Loesser, Alfred Newman} (6:54)

B1. Just Friends {John Klenner, Sam M. Lewis} (6:14)

B2. Speak Low {Ogden Nash, Kurt Weill} (6:50)

B3. I Wished On The Moon {Dorothy Parker, Ralph Rainger} (4:59)

Personnel:

Eddie "Lockjaw" Davis - Tenor Saxophone

Shirley Scott - Organ

Wendell Marshall - Bass (#A1,A2)

George Duvivier - Bass (#A3-B3)

Arthur Edgehill - Drums

Ray Barretto - Conga (#A3-B3)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Robert Levin (January, 1963)

Shirley Scott - Drag 'Em Out (1963) [re-rip]

And Drag 'Em Out she does - on this, one of Shirley's best albums for Prestige! The set really cooks on side one – which is an extended album-side jam called "Drag Em Out", played by Shirley on organ, with Roy Brooks on drums and Major Holley on bass. This sort of long open track is quite different than Shirley's other recordings, and she really rises to meet the challenge. Side two is more standard stuff - 3 tunes, with titles that include "The Song Is Ended", "Out Of It", and "The Second Time Around". © Dusty Groove America, Inc.

Prestige Records, PR 7305, 1964

Recorded 27^th May, 1963 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

Major Holley - Bass

Roy Brooks - Drums

Tracks:

A. Drag 'Em Out {Shirley Scott} (15:46)

B1. The Second Time Around {Sammy Cahn, Jimmy Van Heusen} (4:41)

B2. Out Of It {Shirley Scott} (3:39)

B3. The Song Is Ended {Irving Berlin} (6:36)

Credits:

Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder
Photo - Jim Marshall
Design - Don Schlitten

Liner Notes - John D. Moore, Nov. 1963

Shirley Scott & Kenny Burrell - Travelin' Light (1964) [re-rip]

Kenny Burrell joins the trio of organist Shirley Scott for this sweet little album – a set that seems to burn a bit more than usual for Shirley, probably because of the cool-toned guitar lines from Kenny! The album's got the same laid back feel as other Scott albums of the time, but Burrell really digs in during his solos - adding a bit more bite, and inspiring Shirley to do the same on her own Hammond lines. Bass is by Eddie Khan and drums are by Otis Finch – and titles include "Solar", "The Kerry Dance", "They Call It Stormy Monday", "Nice N Easy", and "Baby It's Cold Outside". © Dusty Groove, Inc.

In February 1964 - sandwiched between two recording sessions with then husband and tenor saxophonist Stanley Turrentine - organist Shirley Scott recorded with guitarist Kenny Burrell. She had just wrapped Hustlin' with Turrentine at the end of January and would be back in the studio for Blue Flames at the end of March. Backing Scott and Burrell on this Ozzie Cadena-produced album for Prestige were bassist Eddie Khan and drummer Otis "Candy" Finch. What makes this album so exciting is what's missing - a boss. Turrentine's appeal on Scott dates was his soulful command and searing reed statements before and after Scott solos. Here, Scott and Burrell play off each other in tender ways. It's a hip rhythm-section date - with all the swinging, playful interchanges you find when the sax on an organ date sits out. After Scott's solos, instead of the Turrentine train roaring out of the tunnel, you get Burrell's ringing, single-note lines. The ear likes what it hears. The session's song choices also are perfect in every way. The track list features Travelin' Light, Solar, Nice 'n' Easy, They Call It Stormy Monday, Baby It's Cold Out There and The Kerry Dance. What's interesting is how Scott plays behind Burrrell. Fully aware of the guitar's sonic limitations, she offers huge support to fill the space - offering both texture and a frame for Burrell. Scott and Burrell played well together. For me, the title tune, Solar and Nice 'n' Easy say it all - a glorious pace, groovy ideas and earthy camaraderie. ~ Marc Myers, jazzwax.com.

Prestige Records, PRST 7328, 1964

Recorded 17th February, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

         

Musicians:

Shirley Scott - Organ

Kenny Burrell - Guitar

Eddie Khan - Bass

Otis Finch - Drums

Tracks:

A1. Travelin' Light {Trummy Young, Johnny Mercer, Jimmy Mundy} (4:41)

A2. Solar {Miles Davis} (6:03)

A3. Nice 'N' Easy {Marilyn Keith, Alan Bergman, Lew Spence} (4:34)

B1. They Call It Stormy Monday {Aaron Walker} (11:08)

B2. Baby It's Cold Outside {Frank Loesser} (3:49)

B3. The Kerry Dance {Traditional} (3:04)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten

Liner Notes - R. D. Harlan (May 1964) WNCN, New York City

Shirley Scott - On A Clear Day (1966) [vinyl]

One of the best Shirley Scott albums ever - a wonderfully groovy little set that seems to stand head and shoulders above some of her other trio dates of the 60s! Shirley really hits a nice clean groove here - a sense of tone we don't always hear this beautifully on earlier Prestige dates, with almost an influence from some of the 60s bossa organists, which seems to show up in the grooves as well. But there's also a deeper swing too - one that seems to come from the album's tight rhythms from Ron Carter's bass and Jimmy Cobb's drums – both of whom snap the groove very tight, and keep Shirley's solos very lean, very clean. Titles include "What The World Needs Now", "Corcovado", "Instant Blues", and "On A Clear Day". © Dusty Groove, Inc.

Impulse! Records, AS-9109, 1966

Recorded 6^th January, 1966 in New York City

Personnel:

Shirley Scott - Organ

Ron Carter - Bass

Jimmy Cobb - Drums

Tracks:

A1. On A Clear Day You Can See Forever {Alan J. Lerner, Burton Lane} (4:44)

A2. What'll I Do? {Irving Berlin} (4:32)

A3. Cold Winter Blues {Shirley Scott} (3:45)

A4. All Alone {Irving Berlin} (4:43)

B1. What The World Needs Now Is Love {Hal David, Burt Bacharach} (3:56)

B2. Corcovado {Antonio Carlos Jobim} (5:18)

B3. Days Of Wine And Roses {Henri Mancini, Johnny Mercer} (5:17)

B4. Instant Blues {Irving Berlin} (6:14)

Credits:

Producer - Bob Thiele

Engineer - Bob Simpson

Cover and Liner Photos - Charles Stewart

Cover Design - Robert Flynn, Viceroy

Liner Design - Joe Lebow

Liner Notes - Stanley Dance (Jazz Magazine)

Most of organist Shirley Scott's records in the 1960s featured her husband, tenor saxophonist Stanley Turrentine, so this trio effort with bassist Ron Carter and drummer Jimmy Cobb was a change of pace. As usual, Scott features an off-the-wall tune ("What The World Needs Now Is Love") in her repertoire, along with standards (including "On A Clear Day" and selections by Henry Mancini, Antonio Carlos Jobim and Irving Berlin) and a couple of basic originals. The music grooves and Scott shows that she did not need a competing horn in order to come up with soulful and swinging ideas. ~ Scott Yanow, AMG.

Shirley Scott - Latin Shadows (1965) [vinyl>flac]

A great album from Shirley Scott - with some excellent arrangements by Gary McFarland! We've always felt that Shirley plays best when she's not leading the group - when someone else is handling the arrangements, so that she can groove mightily on her own - and this album is a perfect illustration of that fact! The album has a sparkling bossa and 60s groove finish - similar to McFarland's albums for Verve at the time - and Shirley's light touch on the Hammond really makes the whole thing dance nicely! Tracks include a sweet version of "Soul Sauce", plus covers like "Can't Get Over the Bossa Nova", "Downtown", and "Dreamsville". Also includes "Latin Shadows", a great original by McFarland! © Dusty Groove, Inc.

Impulse! Records, AS-93, 1965

Recorded 21^st (#A2,A4,A5,B2-B4) & 22^nd (#A1,A3,A6,B1,B5), July, 1965 in New York City

Personnel:

Shirley Scott - Organ

Gary McFarland - Vibraphone

Jerome Richardson - Flute (#A1,A3,A6,B1,B5)

Jimmy Raney - Guitar

Bob Cranshaw - Bass (#A2,A4,A5,B2-B4)

Richard Davis - Bass (#A1,A3,A6,B1,B5)

Mel Lewis - Drums

Willie Rodriguez - Percussion

Strings: [#A1,A3,A6,B1,B5]

Charles McCracken, Edgardo Sodero, Joseph Tekula - Cello

Aaron Rosand, Arnold Eidus, Charles Libove, Harry Cykman, Leo Kruczek - Violin

Arranger, Conductor - Gary McFarland

Track Listing:

A1. Latin Shadows {Gary McFarland} (3:12)

A2. Downtown {Tony Hatch} (3:18)

A3. Who Can I Turn To? {Leslie Bricusse, Anthony Newley} (2:37)

A4. Can't Get Over The Bossa Nova {Eydie Gorme, Steve Lawrence} (2:42)

A5. This Love Of Mine {Sol Parker, Hank Sanicola, Frank Sinatra} (3:23)

A6. Perhaps, Perhaps, Perhaps {Osvaldo Farrés} (2:39)

B1. Soul Sauce {Dizzy Gillespie, Chano Pozo} (2:50)

B2. Hanky Panky {Gary McFarland} (4:16)

B3. Noche Azúl {Shirley Scott} (2:46)

B4. Dreamsville {Ray Evans, Jay Livingston, Henry Mancini} (3:14)

B5. Feeling Good {Leslie Bricusse, Anthony Newley} (3:37)

Credits:

Producer - Bob Thiele

Recording Engineer - Bob Simpson

Front Cover Painting - Mel Cheren

Back Cover & Liner Photos - Charles Stewart

Liner Design - Joe Lebow

Liner Notes - George Hoefer, Jazz Magazine