Shirley Scott – Blue Seven (1961)

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Shirley Scott
BLUE SEVEN
with Oliver Nelson and Joe Newman
1961 Prestige  PR 7376
OJC Reissue OJCCD 1050-2, 2001

1. Blue Seven
2. How Sweet
3. Don’t Worry ‘Bout It Baby, Here I Am
4. Nancy (With The Laughing Face)
5. Wagon Wheels
6. Give Me The Simple Life

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey on August 22, 1961.

Joe Newman (tp) Oliver Nelson (ts) Shirley Scott (org) George Tucker (b) Roy Brooks (d)

So I was listening to one of James Brown’s early instrumental records from the 60s a few days ago, and it left me wanting to listen to somebody who could actually play the organ.  I ended up reaching for this record, a mellow little number from Shirley Scott.  Usually she played with a leaner ensemble, and this has a nice, fleshed-out sound to it with warm trumpet and sax work from Joe Newman and Oliver Nelson.  Newman’s long muted trumpet solo on Wagon Wheels is an excellent companion on a rainy day like I am having today.  The title track, a Sonny Rollins tune, sets the relaxed blues tone for the rest of the set.  I like Roy Brooks but on this session his touch seems a little indelicate at times: even his hi-hat somehow sounds “heavy” and plodding, even on the ballad Nancy (With The Laughing Face).  On this tune Shirley’s organ sounds so wonderful I feel like I am sitting right next to it watching the tubes glow; it’s redundant to compliment Van Gelder on his recording prowess, but there it is.

A short and sweet blog post for a short and sweet album.

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Jimmy McGriff – Countdown (1983)

 
Jimmy McGriff
“Countdown”
1983, Milestone  (M-9116)


1. I’m Walkin’ (Domino and Bartholomew)
2. Holly (Jimmy Mcgriff)
3. Down For The Count (Frank Foster)
4. Blow Your Horn (Benny Green)
5. Since I Fell For You (Buddy Johnson)
6. Shiny Stockings (Frank Foster)


Clifford Adams, Jr – trombone
Marshall Keys – alto sax
Arnold Sterling – alto and tenor sax
Jimmy McGriff – organ
Melvin Sparks – guitar
Vance James – drums


Produced by Bob Porter
Engineer – Rudy Van Gelder
Recorded on April 27 and 28, 1983

Vinyl ; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair light settings; individual clicks and pops taken out with Adobe Audition 3.0 – resampled (and dithered for 16-bit) using iZotope RX Advanced. Tags done with Foobar 2000 and Tag and Rename.
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Organ combos are often a whipping-boy for jazz purists.  Seated behind an instrument with limited emotional range, organists were perhaps in the forefront of artists who extended the jazz tradition of dipping into the “great tradition of popular song” of Cole Porter or Gershwin and looking to the contemporary hit parade to produce jazzed up versions of Carol King, Burt Bacharach, Ray Charles or funkier fare like Sly Stone and Motown, earning the ire of critics who lambasting this ‘pandering’ to commercial trends.  By the nineteen-seventies the funky soul-jazz record was so ubiquitous that it seemed like a handful or artists were able to crank them out quicker than hotcakes from a griddle and with about as much variety.  Even if I personally love most of this stuff, I acknowledge that, as one of my friends Stumpy McFinn (a pseudonym) put it regarding his own feelings for these records, “A little goes a long way.”

So as the golden age of soul-jazz and jazz-funk faded away, where did it leave some of the people who made a healthy livelihood from it and left us some great records like “The Worm,” “Electric Funk,” and “Groove Grease”?   With a recording date of 1983, I braced myself for lower expectations when I picked up this record cheap as dirt, and instead found myself liking it quite a bit.   Relieved not to find McGriff trading in his Hammond for a Fairlight synth or strutting around the stage with a “keytar,” he instead retrenches his roots more than he’d done since his days on Sue Records.  The repertoire is anything but contemporary, leading off with a New Orleans stroll by way of Fats Domino’s hit “I’m Walkin'”, whose vamp outro might be the funkiest thing on the record.  The album embraces a big band sound with small group arrangements, written in a way to create aural illusions that, as McGriff said to the Newark Star-Ledger reporter whose story comprises the liner notes, uses “close harmonies and voicings to make you hear some things that aren’t really there.”  Two selections are Frank Foster tunes from the songbook of the Count Basie Orchestra, “Down For the Count” and “Shiny Stockings,” and the slow blues “Since I Fell For You” has me wanting to burst out into the lyrics —

You made me leave my happy home
You took my love, and now you’re gone
Since I fell for you 

The sideman on this date all hold their own but the potential show stealers are guitarist Melvin Sparks and trombonist Clifford Adams (member of Kool & The Gang and a presence on some of my favorite soul-jazz efforts from the likes of Charles Earland and Lonnie Liston Smith).  Adams gets to trade riffs with saxophonists Marhsall Keys and Arnold Sterling on “Blow Your Horn,” the most driving tune here which also happens to have been written by legendary trombonist Bennie Green.  Drummer Vance James is a no-frills player who holds down the shuffles and the swing with aplomb; he also played on records by frequent McGriff collaborator Hank Crawford during the 80s and 90s.  The sound on this record is wonderfully full-bodied, with Rudy Van Gelder behind the board, and “production” limited to a splash of reverb on the horns.  There may be no surprises or blinding flights of inspiration on this album, but there are no gimmicks either.  A solid low-key listen for a lazy Sunday like today.

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