Eddie 'Lockjaw' Davis - Goin' To The Meetin'

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 73:00
Size: 171,6 MB
Art: Front

(5:02)  1. I Wished On The Moon
(4:24)  2. From This Moment On
(5:44)  3. It's A Pity To Say Goodnight
(6:17)  4. Just Friends
(7:03)  5. The Moon Of Mankoora
(6:53)  6. Speak Low
(5:27)  7. Goin' To Meetin'
(3:05)  8. People Will Say We're In Love
(5:00)  9. Night And Day
(3:41) 10. Pass The Hat
(3:48) 11. Yes, Yes
(3:59) 12. Please Send Me Someone To Love
(2:40) 13. Our Love Is Here To Stay
(5:35) 14. Oh Babee
(4:15) 15. Little Cougar

The esthetic and visceral aspects of Eddie “Lockjaw” Davis’ music have been on my mind a lot lately. My regular AAJ column “Combing the Fantasy Catalog” allowed me the welcome chance to explore his Prestige label legacy at length, but much to my regret this recent reissue wasn’t in circulation until after I’d put the wrap on the articles. The generous clutch of material from three albums, Misty, Stompin’ and Goin’ to the Meetin’ gathered here is much in line with his other work circa this vintage. The disc’s first half revisits the classic Davis/Scott combo flying its full hard-swinging soul-hued regalia with the added bonus of conguero Ray Barretto in the ranks. Originally a Moodsville release the tunes are a surprising mix of up-tempo burners like “From This Moment On” and balladic fare such as “Just Friends.” Both vie to create a swirling batch of performances that bring out the band’s best side. Just drop in on the furious conga breaks on the former tune and tidal force of Scott’s sustain-saturated fills for a taste guaranteed to leave even the most sullenly jaded listener rapacious for more. Even the slice of pop exotica “The Moon of Manakoora,” a regular staple of the Bachelor pad orchestras bandleaders like Les Baxter and is successfully given a make-over in line with the Davis’ no-frills delivery.

The album from which the disc’s title is taken fills out the second half trading Scott’s soul organ for Parlan’s hard bop piano and convening a completely different rhythm section with conga presence intact. Catlett’s moody walking line on the title track (which strangely recalls the bass line to Gil Melle’s “Mars”- how’s that for an obscure reference?) is but one of the many indications of a different, but no less visceral vibe. Bobo’s skins are sparser and more staccato in sound, accenting rather than driving the group, and Taylor’s sticks deliver a crisper, more measured sound than Edgehill. Parlan steps to the solo podium almost as often as the leader, but tune lengths are significantly shorter. Highlights are numerous, but the Latin groove of “Night and Day” where Taylor and Bobo sculpt a living lattice of interlocking cross rhythms beneath Davis’ booting phrasings garners first prize by my estimation. Listener’s familiar with Davis won’t need much prodding when it comes to acquisition of this disc, but suffice it to say that those unfamiliar with his gruff charms are likely to find themselves pleased by the purchase as well.By Derek Taylor
https://www.allaboutjazz.com/goin-to-the-meetin-eddie-lockjaw-davis-review-by-derek-taylor.php

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Horace Parlan (piano); Shirley Scott (organ); George Duvivier (bass); Ray Barretto, Willie Bobo (congas).

Goin' To The Meetin'

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Ed Wiley, Jr. - In Remembrance

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 67:13
Size: 154,2 MB
Art: Front

( 5:06)  1. Nobody Knows The Trouble I've Seen
(12:03)  2. There's Blues Everywhere
( 3:02)  3. Shaw Nuff
( 9:04)  4. In Remembrance
( 6:20)  5. Lift Ev'ry Voice
( 5:17)  6. Go Down Moses
( 8:05)  7. Jesus Loves Me
(12:21)  8. Let Us Break Bread Together
( 5:52)  9. Sleepy

On this recording, tenor saxophonist Ed Wiley, Jr. pays tribute to the African-American music continuum, from Negro spirituals to bebop. Included is the classic Go Down Moses, and an emotional solo rendition of Nobody Knows which features Wiley's lush, warm tone. The passionate title track, In Remembrance, written by Wiley, captures the essence of Black struggle. Also includes Charlie Parker's up-tempo bebop tune, Shaw-Nuff. This recording features Ed Wiley, Jr. on tenor and alto sax; Milt Hinton on bass; Shirley Scott on piano; Micky Roker and Bobby Durham on drums; Terell Stafford on trumpet; Wycliffe Gordon, longtime member of the Wynton Marsalis band, on trombone. Arrangements by Ed Wiley, Jr. and Shirley Scott. ~ Editorial Reviews  http://www.amazon.com/In-Remembrance-Ed-Wiley-Jr/dp/B000EZ91FQ

In Remembrance

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Shirley Scott - Queen Talk: Live at the Left Bank

Styles: Hard Bop, Soul Jazz
Year: 2023
File: MP3@320K/s
Time: 97:59
Size: 228,3 MB
Art: Front

(12:32) 1. Impressions
(10:44) 2. Never Can Say Goodbye
( 9:55) 3. Like Someone in Love
(14:45) 4. Witchcraft
( 6:37) 5. Blues By Five
( 9:08) 6. By The Time I Get To Phoenix
( 9:19) 7. Smile
( 8:04) 8. You Don't Mess Around with Jim
( 8:42) 9. Girl Talk
( 8:09) 10. Blues

Queen Talk is a fitting title for the current release from the archivist label Reel to Real Records as Hammond B-3 organist Shirley Scott had the soubriquet "Queen of the organ" at the height of her career. This limited-edition hand-numbered 180 gram 2-LP set produced by Zev Feldman and Cory Weeds presents a never-before-released live 1972 recording from the Famous Ballroom in Baltimore. Other heavyweights on this outline are tenor saxophonist George Coleman, drummer Bobby Durham and, for three tracks, vocalist Ernie Andrews.

A Philadelphia native, Scott began playing in and around the area at an early age and, at twenty-one, she was in a trio with John Coltrane, supporting a vocal group called Hildy & The Peptones. By the time of this live session, she had long established her bona fides through her association with tenor-men such as Eddie "Lockjaw" Davis and Stanley Turrentine as well as several iterations of her own trio.

Side A opens with John Coltrane's composition "Impressions" and races along at break-neck speed. There are lots of long hot-tempered lines and squealing by Coleman, while Durham is a whirling dervish on the drum kit. Scott deftly works her way into this ring, punching above her weight. The other track is "Never Can Say Goodbye," with a slightly more infectious tempo which is more open, appealing and in control. Everyone has their say and for the most part is readily understood.

Side B features the session's longest track, "Witchcraft," the Cy Coleman composition which became a big hit for Frank Sinatra. However, instead of the finger snapping tempo favoured by Sinatra, the trio decides they want to test each other's endurance. It is unclear who the winner (or loser) is but, by the end of the track, Coleman has shown he is a soloist of fluency and speed.

Side C has three decidedly different compositional forms starting with the Red Garland number "Blues By Five" then the Jimmy Webb pop tune "By The Time I Get To Phoenix," and finally Charlie Chaplin's composition "Smile." It might have been expected that these disparate numbers would produce different tempos, but that is not the case. Up tempo swing is the order of the day and each player dives in with glee.

Side D is all vocalist Ernie Andrews on "You Don't Mess Around with Jim," "Girl Talk" and "Blues." Throughout the three numbers, Andrews shows his versatility, vocal flexibility, and ability to sustain and fortify the energy in the room with the strength of his personality. A fitting wind up to a to a blistering session.By Pierre Giroux
https://www.allaboutjazz.com/queen-talklive-at-the-left-bank-shirley-scott-reel-to-real-records

Personnel: Shirley Scott: organ, Hammond B3; George Coleman: saxophone, tenor; Bobby Durham: drums; Ernie Andrews: voice / vocals.

Queen Talk: Live at the Left Bank

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Stanley Turrentine - Let It Go

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 66:21
Size: 152,4 MB
Art: Front

(5:55)  1. Let It Go
(6:58)  2. On a Clear Day You Can See Forever
(5:54)  3. Ciao, Ciao
(5:31)  4. 'Tain't What You Do (It's the Way That You Do It)
(5:21)  5. Good Lookin Out
(4:44)  6. Sure As You're Born
(4:49)  7. Deep Purple
(9:20)  8. Time After Time
(5:42)  9. Sent for You Yesterday (And Here You Come Today)
(8:07) 10. The Lamp Is Low
(3:56) 11. The Feeling of Jazz

For fans ready to graduate from Stanley Turrentine's many fine Blue Note sets, this excellent mid-'60s date on Impulse should be the perfect option. Joined by then-wife Shirley Scott on organ, Turrentine revels in a fine array of medium cookers, three of which came from his own pen. The covers are just as impressive, including a clutch of late-night blues and ballads from the standards canon ("Time After Time") and the Ellington ("The Feeling of Jazz") and Basie catalogs ("Sent for You Yesterday"). And making it all swing in the pocket, Turrentine and Scott get top-drawer support from bassists Ron Carter and Bob Cranshaw and drummers Mack Simpkins and Otis Finch. Enjoy. ~ Stephen Cook  http://www.allmusic.com/album/let-it-go-mw0000263512

Personnel: Stanley Turrentine - tenor saxophone; Shirley Scott – organ; Ron Carter - bass (tracks 1-7); Mack Simpkins - drums (tracks 1-7); Bob Cranshaw - bass (tracks 8-11); Otis Finch - drums (tracks 8-11)

Let It Go

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Shirley Scott - Something

Styles: Piano Jazz, Post Bop
Year: 1970
File: MP3@320K/s
Time: 28:20
Size: 66,1 MB
Art: Front

(3:52)  1. Games People Play
(3:46)  2. Because
(2:57)  3. Can I Change My Mind
(3:04)  4. Someday We'll Be Together
(3:28)  5. Something
(2:42)  6. I Want You Back
(4:18)  7. Messie Bessie
(4:10)  8. Brand New Me

Shirley Scott began playing piano and trumpet in her native Philadelphia. By the mid 1950s, she was playing piano in the city's thriving club scene - often with the very young John Coltrane. A club owner needed her to fill in on organ one night and the young Shirley took to it immediately, crafting a swinging, signature sound unlike anyone else almost from the get go. On a swing through town, Basie tenor man Eddie “Lockjaw” Davis (1922-86) heard Scott and asked her to join his band. They recorded prolifically together as co-leaders and released a hugely popular series of “Cookbook” records for Prestige during the late 1950s. Shirley launched her solo career in 1958, recording 23 albums for Prestige (1958-64), 10 for Impulse (1963-68), three for Atlantic (1968-70), three for Cadet (1971-73), one in 1974 for Strata East, two for Muse (1989-91) and three for Candid (1991-92). She was married to the late, great tenor sax player Stanley Turrentine (1961-71) and the two made some of their finest music - together - for the Blue Note, Prestige, Impulse and Atlantic labels. Her playing consistently possessed one of the most graceful and lyrical touches applied to the bulky B-3. But it was her deeply-felt understanding of the blues and gospel that made her playing most remarkable. Shirley Scott resided in Philadelphia up until her death in early 2002. She occasionally performed locally (on piano, mostly) and was musical director of Bill Cosby's short-lived 1992 show You Bet Your Life. She successfully won a multi-million dollar lawsuit against a diet-drug company in 2000 and had not performed in public for about five years before her untimely death in early 2002. https://musicians.allaboutjazz.com/shirleyscott

Personnel: Organ, Piano, Synthesizer [Ondioline] – Shirley Scott; Congas [Conga Drums] – Ralph MacDonald; Drums – Jimmy Johnson; Electric Bass – Charles Rainey; Electric Guitar – Billy Butler, Eric Gale

Something

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Joe Newman - Soft Swingin' Jazz

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 74:25
Size: 173,8 MB
Art: Front

(3:18)  1. Makin' Whoppee
(2:38)  2. Three Little Words
(4:29)  3. Scotty
(2:37)  4. There's A Small Hotel
(3:19)  5. I Let A Song Go Out Of My Heart
(3:39)  6. Moonglow
(3:01)  7. Organ Grinder's Swing
(3:35)  8. Rosetta
(3:07)  9. Too Marvellous For Words
(2:59) 10. The Farmer's Daughter
(3:56) 11. Save Your Love For Me
(3:08) 12. The Happy Cats
(2:53) 13. Cocktails For Two
(3:40) 14. Later For The Happenings
(4:04) 15. Buttercup
(4:26) 16. Robbin's Nest
(2:18) 17. They Can't Take That Away From Me
(3:47) 18. Feather's Nest
(3:01) 19. Mean To Me
(3:34) 20. Between The Devil And The Deep Blue Sea
(3:19) 21. Joe's Tune
(3:31) 22. I Never Knew

The title says it all. Soft Swinging Jazz pairs Joe Newman with organist Shirley Scott, bassist Eddie Jones, and Charlie Persip for a mellow, lovely session unique within the trumpeter's catalog. For starters, Newman assumes vocal duties on a handful of cuts, proving himself a fine crooner. Moreover, the spacious, nuanced arrangements afford him the room to summon some of his most intimate but impassioned solos. Not to mention that Scott's an uncommonly sympathetic collaborator, shaping and underlining the melodies to create rolling, contoured grooves with the texture of velvet. The album was reissued in 2007 on the Lonehill label alongside the subsequent The Happy Cats. 

~ Jason Ankeny https://www.allmusic.com/album/soft-swinging-jazz-mw0000350883

Personnel:  Joe Newman - trumpet, vocals; Shirley Scott - organ; Eddie Jones - bass; Charlie Persip - drums; Ernie Wilkins - piano

Soft Swingin' Jazz

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Shirley Scott - Happy Talk (Remastered)

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 34:48
Size: 80,2 MB
Art: Front

(8:43)  1. Happy Talk
(5:28)  2. Jitterbug Waltz
(4:51)  3. My Romance
(5:17)  4. Where or When
(5:01)  5. I Hear a Rhapsody
(5:26)  6. Sweet Slumber

An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist  in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia. ~ Alex Henderson and Ron Wynn https://itunes.apple.com/ca/album/happy-talk-remastered/915593021

Personnel:  Shirley Scott - organ;  Earl May - bass;  Roy Haynes - drums

Happy Talk (Remastered)

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Mildred Anderson - Person to Person

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 30:43
Size: 70,5 MB
Art: Front

(2:44)  1. I'm Gettin' 'Long Alright
(4:57)  2. I'm Free
(4:33)  3. Don't Deceive Me (Please Don't Go)
(3:47)  4. Hello Little Boy
(3:07)  5. Person to Person
(2:57)  6. Cool Kind of Poppa
(3:50)  7. Kidney Stew Blues
(4:45)  8. I Didn't Have a Chance

Mildred Anderson, who recorded with organist Bill Doggett as early as 1953, only made two albums as a leader and, although thought of as as being in the R&B/blues field, both records have some notable jazz players supporting her. For this CD reissue, Anderson is joined by tenor-saxophonist Eddie "Lockjaw" Davis, organist Shirley Scott, bassist George Duvivier and drummer Arthur Edgehill for such songs as "Hello Little Boy," "Person to Person" and "Kidney Stew Blues" (the latter two tunes were associated with Eddie "Cleanhead" Vinson). Despite being rather brief (just 31 minutes), this set is worth checking out if quite obscure. ~ Scott Yanow https://www.allmusic.com/album/person-to-person-mw0000108898

Personnel:  Mildred Anderson - vocals;  Eddie "Lockjaw" Davis - tenor saxophone;  Shirley Scott - organ;  George Duvivier - bass;  Arthur Edgehill - drums

Person to Person

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Stanley Turrentine - Ballads

Styles: Saxophone Jazz

Year: 1993

File: MP3@320K/s

Time: 64:12

Size: 147,6 MB

Art: Front

(9:58)  1. Willow Weep For Me

(8:48)  2. Since I Fell For You

(6:10)  3. Then I'll Be Tired Of You

(7:44)  4. Someone To Watch Over Me

(7:44)  5. They All Say I'm The Biggest Fool

(6:07)  6. More Than You Know

(3:59)  7. God Bless The Child

(5:31)  8. Watch What Happens

(8:06)  9. A Child Is Born

Although he's a monster tenor soloist on funky, exuberant, bluesy soul-jazz, Stanley Turrentine is even more awesome on ballads. His rich, steamy sound, full tone, and ability to pace and develop moods is ideal for show tunes and sentimental love songs. This nine-track set begins with Turrentine nicely caressing the melody and turning in a standout treatment on "Willow Weep For Me," continuing through tearjerkers ("Since I Fell For You") and blues anthems ("God Bless The Child"), and closing with Thad Jones' beautiful "A Child Is Born." Turrentine is matched with numerous premier players, and pianist McCoy Tyner, guitarist Jimmy Smith, and even Turrentine's brother Tommy (trumpet) gently support and complement the main soloist. One of the best Blue Note special discs, featuring moving, frequently hypnotic playing from a true tenor great. ~ Ron Wynn http://www.allmusic.com/album/ballads-mw0000107424

Personnel: Stanley Turrentine (tenor saxophone); Tommy Turrentine (trumpet); Gene Harris, Horace Parlan, McCoy Tyner, Tommy Flanagan (piano); Shirley Scott, Jimmy Smith (organ); Grant Green, George Benson (guitar); Andrew Simpkins, George Tucker, Bob Cranshaw, Paul Chambers, Major Holley, Gene Taylor, Ron Carter (bass); Bill Dowdy, Al Harewood, Mickey Roker, Art Taylor, Clarence Johnston, Billy Cobham, Jimmy Madison (drums).

Ballads

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Stanley Turrentine - Hustlin'

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 48:57
Size: 113,3 MB
Art: Front

(7:51)  1. Trouble (No. 2)
(7:39)  2. Love Letters
(6:03)  3. The Hustler
(6:26)  4. Ladyfingers
(6:16)  5. Something Happens To Me
(7:07)  6. Goin' Home
(7:32)  7. Trouble (No. 2) (alt. take) (bonus track)

This is a typically excellent recording from the husband-wife team of tenor saxophonist Stanley Turrentine and organist Shirley Scott. With assistance from guitarist Kenny Burrell, bassist Bob Cranshaw, and drummer Otis Finch, Turrentine (who always had the skill of playing melodies fairly straight but with his own brand of soul) and Scott dig into "Love Letters," Lloyd Price's "Trouble," "Something Happens to Me," a couple of basic originals, and "Goin' Home." The Turrentine-Scott team never made an unworthy disc; all are easily recommended, including this one. ~ Scott Yanow http://www.allmusic.com/album/hustlin-mw0000228132

Personnel: Stanley Turrentine (tenor saxophone); Shirley Scott (organ); Kenny Burrell (guitar); Bob Cranshaw (bass); Otis Finch (drums)

Hustlin'

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Shirley Scott Trio - Like Cozy

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 72:12
Size: 166,1 MB
Art: Front

(4:33)  1. Sweet Lorraine
(4:22)  2. I Thought I'd Let You Know
(4:48)  3. I Should Care
(4:48)  4. Spring Is Here
(3:59)  5. I Didn't Know What Time It Was
(4:16)  6. Gee Baby, Ain't I Good To You?
(5:11)  7. Until The Real Thing Comes Along
(3:49)  8. Lover Man (Oh, Where Can You Be?)
(4:12)  9. Like Cozy
(5:02) 10. Little Girl Blue
(5:01) 11. Laura
(5:19) 12. You Do Something To Me
(4:34) 13. Once In A While
(4:14) 14. 'Deed I Do
(4:08) 15. More Than You Know
(3:48) 16. My Heart Stood Still

In the ranks of unsung organists Shirley Scott has to be among the most overlooked. A veteran of countless Prestige studio gigs and an indispensable creative cog in the Eddie “Lockjaw” Davis organ combo of the late 1950s her role in popularizing and broadening her instrument’s appeal is difficult to overstate. Yet she’s rarely named among the roll call of her male peers like Jimmy Smith, Jack McDuff, Jimmy McGriff and so many others. The reasons behind the disparity are tough to pinpoint. Some might cite gender politics as the chief culprit; others might finger her prolific career as session musician. Whatever the cause behind her comparative obscurity this recent Prestige two-fer, which collects the Moodsville albums The Shirley Scott Trio and Like Cozy into one convenient package, offers a fresh reason for reappraisal and restitution. Like so many other players Scott’s approach to the organ was grounded in her earlier career as a pianist. Both of these dates provide a rare chance to compare her styles on the two instruments up close. Beginning with the easy syrupy swing of “Sweet Lorraine” on organ, she switches to piano for “I Thought I’d Let You Know.” Coming full circle of sorts “I Should Care” features her on both through the studio wizardry of overdubbing. Differing from most of her colleagues Scott regularly employed a bassist in her group, freeing up her feet from the necessity of pedal work and allowing her to focus more efficiently on melodic and harmonic possibilities in her improvisations. Her approach to acoustic keys is likewise grounded in relaxed lyricism and cleanly articulated chording. In typical Moodsville fashion all of the tunes on each of the albums are standards or ballads taken at slow to medium tempos. Duvivier and Edgehill (colleagues from the Davis group) fit like a rhythmic glove around Scott’s lead statements and Tucker adopts a similarly sensitive touch when it comes to accompaniment on the piano pieces. Track lengths are limited to the four to five minute range, keeping things concise, but Scott still finds the space for plenty of relaxed and imaginative invention. Visit her hard-edged vibrato-heavy lines on “Laura” for just one of many examples. And while there isn’t a burner in the bunch this collection works as a lavishly programmed source of elegant small combo jazz with liberally placed soulful accents. Hopefully it will rekindle wider interest in the substantial talent that was Scott’s gift. ~ Derek Taylor https://www.allaboutjazz.com/like-cozy-shirley-scott-prestige-records-review-by-derek-taylor.php
 

Personnel: Shirley Scott- organ, piano; George Tucker- bass; George Duvivier- bass; Arthur Edgehill- drums.

Like Cozy

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Eddie “Lockjaw” Davis, Buddy Tate, Coleman Hawkins, Arnett Cobb - Very Saxy

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 38:47
Size: 90,9 MB
Art: Front

(8:19)  1. Very Saxy
(6:15)  2. Lester Leaps In
(5:22)  3. Fourmost
(8:53)  4. Foot Pattin'
(9:55)  5. Light And Lovely

Tenor saxophonist Eddie "Lockjaw" Davis and his quartet (which includes organist Shirley Scott, bassist George Duvivier and drummer Arthur Edgehill) welcome three immortal tenors (Coleman Hawkins, Arnett Cobb and Buddy Tate) to what became a historic and hard-swinging jam session. On three blues, an original based on the chord changes of "Sweet Georgia Brown" and "Lester Leaps In," the four tenors battle it out and the results are quite exciting. The spirited music on this memorable LP will hopefully be reissued on CD eventually, for the performances live up to their great potential. ~ Scott Yanow http://www.allmusic.com/album/very-saxy-mw0000310467

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Buddy Tate (tenor saxophone); Coleman Hawkins (tenor saxophone); Arnett Cobb (tenor saxophone); Shirley Scott (Hammond b-3 organ); George Duvivier (bass instrument); Arthur Edgehill (drum).

Very Saxy

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Shirley Scott - Blues Everywhere

Bitrate: MP3@320K/s

Time: 57:23

Size: 131.4 MB

Styles: Bop, Soul-Jazz

Year: 1991/2008

Art: Front

[6:16] 1. Autumn Leaves

[9:10] 2. Blues Everywhere

[8:41] 3. Oasis

[9:16] 4. Embraceable You

[8:55] 5. Triste

[8:58] 6. 'round Midnight

[6:04] 7. The Theme

Recent trio session with Scott and Arthur Harper (b) and Mickey Roker (d). The twist is that Scott is playing acoustic piano throughout. It's not the usual sound, but she can play that thing. ~Michael Erlewine

Shirley Scott is equally at home on organ or piano, but her pianist talent was unknown for many years, such was her popularity as one of the most original of jazz organists. This live Candid set, originally released in 1991, marks her debut as a leader of a piano trio and finds her with Arthur Harper on bass and Mickey Roker on drums. The love, care and experience of the threesome is evident in the spontaneous feel that abounds and in the thoughtfully attractive arrangements. Trios don't come much more hip than this one.

Blues Everywhere

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Shirley Scott - Talkin' Verve

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Soul-jazz, Hard bop
Year: 2001
Art: Front

[3:02] 1. A Shot In The Dark
[3:41] 2. For Dancers Only
[5:41] 3. Southern Comfort
[3:01] 4. Blue Bongo
[3:41] 5. On The Trail
[3:16] 6. I'm Getting Sentimental Over You
[5:31] 7. T'ain't What You Do (It's The Way That Cha Do It)
[5:19] 8. Good Lookin' Out
[6:28] 9. Proud Mary
[3:37] 10. Feeling Good
[3:18] 11. Downtown
[3:58] 12. Taj Mahal
[4:32] 13. Heat Wave
[6:23] 14. Make Someone Happy

Although she freely offered Jimmy Smith as her main influence, Philadelphia's Shirley Scott brought her own mixture of sophistication and soul jazz funk to her Hammond B-3 recordings. Less blues-based than Smith, she had a softer tone and tackled a wider range of material, although, like Smith, she was arguably at her best in the trio setting. This set brings together some key tracks from the Impulse and Cadet labels, including the soft and smooth "Taj Mahal," a pair of fine trio outings, "Blue Bongo" and "On the Trail," and she even makes John Fogerty's "Proud Mary" sound like it was written for the B-3. ~Steve Leggett

Talkin' Verve

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Shirley Scott - Roll 'em: Shirley Scott Plays The Big Bands

Bitrate: MP3@320K/s
Time: 39:44
Size: 91.0 MB
Styles: Organ jazz, Soul-jazz
Year: 1966/1994
Art: Front

[4:09] 1. Roll 'em
[3:42] 2. For Dancers Only
[2:49] 3. Sophisticated Swing
[3:52] 4. Sometimes I'm Happy
[3:56] 5. Little Brown Jug
[3:57] 6. Stompin' At The Savoy
[3:30] 7. Ain't Misbehavin'
[3:54] 8. A-Tisket, A-Tasket
[5:18] 9. Things Ain't What They Used To Be
[4:32] 10. Tippin' In

Bass – George Duvivier, Richard Davis; Drums – Ed Shaughnessy, Grady Tate; Guitar – Attila Zoller; Organ – Shirley Scott; Saxophone [Alto] – Jerry Dodgion, Phil Woods; Saxophone [Baritone] – Danny Bank; Saxophone [Tenor] – Jerome Richardson, Bob Ashton; Trombone – Ernie Royal, Melba Liston, Paul Faulise, Quentin Jackson, Tom McIntosh; Trumpet – Clark Terry, Jimmy Nottingham, Joe Newman, Thad Jones.

Roll 'Em: Shirley Scott Plays the Big Bands is an album by American jazz organist Shirley Scott recorded in 1966 for the Impulse! label.

Roll 'em: Shirley Scott Plays The Big Bands

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Shirley Scott, Clark Terry - Soul Duo

Styles: Soul Jazz, Hard Bop
Year: 1968
File: MP3@320K/s
Time: 35:33
Size: 81,7 MB
Art: Front

(5:32)  1. Soul Duo
(5:26)  2. Until I Met You
(3:41)  3. This Light of Mine
(3:46)  4. Joonji
(4:03)  5. Clark Bars
(3:52)  6. Taj Mahal
(4:51)  7. Up a Hair
(4:21)  8. Heat Wave

Digitally remastered edition of this 1966 collaboration between two Jazz greats. Soul Duo is a remarkable collaboration between jazz organist Shirley Scott from Philadelphia and trumpeter, composer and bandleader Clark Terry from St. Louis. Soulful and upbeat, it includes 'Until I Met You', better known to Count Basie listeners as 'Corner Pocket', and a reading of Irving Berlin s 'Heat Wave'. The album was originally recorded and released on ABC/Impulse and produced by Bob Thiele who went on to form Flying Dutchman Records. This is the first time the album has been released on CD.~Editorial Reviews http://www.amazon.com/Soul-Shirley-Scott-Clark-Terry/dp/B008IAQPL2

Personnel:  Bass – Bob Cranshaw, George Duvivier;  Drums – Mickey Roker;  Organ – Shirley Scott;  Trumpet – Clark Terry

Soul Duo

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Shirley Scott - Queen Of The Organ

Styles: Jazz, Hard Bop
Year: 1964
File: MP3@320K/s
Time: 71:03
Size: 164,0 MB
Art: Front

(7:34)  1. Just In Time
(9:59)  2. Squeeze Me (But Don't Tease Me)
(9:39)  3. Mean, Angry, Nasty, And Low Down
(9:11)  4. Can't Buy Me Love
(8:52)  5. Like Blue
(8:16)  6. Cute
(8:28)  7. Rapid Shave
(7:50)  8. That's For Me
(1:08)  9. The Theme

This CD reissue brings back all of the music previously put out on the two-LP set The Great Live Sessions with the exception of one number ("Shirley's Shuffle") left out due to lack of space; with over 70 minutes of music, one cannot complain too much about the omission. Overall, this is a pretty definitive live set featuring organist Shirley Scott, tenor saxophonist Stanley Turrentine, bassist Bob Cranshaw and drummer Otis "Candy" Finch, one of the great soul-jazz combos of the 1960s. In addition to a swinging "Just In Time" and Duke Ellington's "Squeeze Me, But Please Don't Tease Me," the set mostly features obscurities and originals, plus a surprisingly effective version of the Beatles' "Can't Buy Me Love." The musicians sound quite heated and consistently inspired. Highly recommended. ~ Scott Yanow  http://www.allmusic.com/album/queen-of-the-organ-mw0000617897

Personnel: Shirley Scott (organ), Stanley Turrentine (tenor saxophone), Bob Cranshaw (bass), Otis "Candy" Finch (drums).

Queen Of The Organ

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Shirley Scott - Jazz For A Lazy Day

Size: 182,0 MB
Time: 77:28
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Bridge Blue (5:33)
02. Sposin' (4:20)
03. The Scott (3:10)
04. Miles' Theme (3:30)
05. Bye Bye Blackbird (6:37)
06. Goodbye (4:59)
07. Slaughter On 10th Avenue (3:38)
08. It Could Happen To You (4:33)
09. All Of You (3:22)
10. Autumn Leaves (5:49)
11. Brazil (2:26)
12. Baby Won't You Please Come Home (4:01)
13. Four (3:52)
14. I Can't See For Lookin' (4:10)
15. Cherokee (5:20)
16. There Will Never Be Another You (3:21)
17. Summertime (3:57)
18. Nothing Ever Changes My Love For You (4:40)

An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist -- in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia. ~ Alex Henderson and Ron Wynn

Jazz For A Lazy Day

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Shirley Scott - Great Scott!

Styles: Jazz, Hard Bop
Year: 1959
File: MP3@320K/s
Time: 35:02
Size: 80,3 MB
Art: Front

(3:09)  1. The  Scott
(3:22)  2. All Of You
(5:01)  3. Goodbye
(3:54)  4. Four
(4:41)  5. Nothing Ever Changes My Love
(7:00)  6. Trees
(5:23)  7. Cherokee
(2:28)  8. Brazil

Great Scott! is the debut album by organist Shirley Scott recorded in 1958 for the Prestige label.  The Allmusic review stated "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". http://en.wikipedia.org/wiki/Great_Scott!_%281958_Shirley_Scott_album%29

Personnel:  Shirley Scott – organ;  George Duvivier – bass;  Arthur Edgehill - drums

Great Scott!

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Eddie 'Lockjaw' Davis With Shirley Scott - The Eddie "Lockjaw" Davis Cookbook Vol: 3

Styles: Hard Bop, Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 38:47
Size: 89,1 MB
Art: Front

(6:16)  1. I'm Just A Lucky So And So
(7:23)  2. Heat 'n' Serve
(6:05)  3. My Old Flame
(5:55)  4. The Goose Hangs High
(9:28)  5. Simmerin'
(3:38)  6. Strike Up The Band

Tenor man Eddie "Lockjaw" Davis made quite a few records with organist Shirley Scott during the late '50s. The basic originals in their Cookbook series tended to have titles that dealt with cooking; in this case "Heat 'n' Serve," "The Goose Hangs High," and "Simmerin'" apply, as does the standard "My Old Flame." Jerome Richardson's flute, baritone, and tenor give this CD reissue some variety, bassist George Duvivier and drummer Arthur Edgehill are fine in support, and Scott shows that she was one of the top organists to emerge after the rise of Jimmy Smith. But Davis is the main star, and his instantly recognizable sound is the most memorable aspect of this swinging session. ~ Scott Yanow  http://www.allmusic.com/album/the-eddie-lockjaw-davis-cookbook-vol-3-mw0000093938

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Jerome Richardson (flute, tenor saxophone, baritone saxophone); Shirley Scott (organ); Arthur Edgehill (drums).

The Eddie "Lockjaw" Davis Cookbook Vol: 3

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