Shirley Corder

During the 1960's, Shirley Scott's Impulse albums were often split between big band selections (with orchestras arranged by Oliver Nelson) and trio features. This CD reissue includes all of the contents from two of Scott's better Impulse albums, Great Scott and For Members Only. In general the eight trio numbers are the most rewarding performances on the disc since the material is fairly superior while the big band tracks emphasize then-current show and movie tunes. Overall this generous CD gives one a good overview of Shirley Scott's playing talents.

A smart combination of two 1961 albums, Hip Soul and Hip Twist, both of which featured Stanley Turrentine on sax. Hip Soul is the smokier and livelier of the pair, especially on "Stanley's Time" and the Turrentine-composed title track; the material is delivered with a taut intelligence. Hip Twist doesn't suffer much in comparison, though, and gives Scott a bit more presence, as she introduces several themes with impassioned swirls; unlike Hip Soul, it has a couple of tunes from her own pen.

One of the most important voices in British folk music Shirley Collins returns with Archangel Hill, her third album for Domino. Due for release on May 26th, it showcases another peerless collection of songs chosen by Collins, some from traditional sources but others from favourite writers of hers.

Two of pianist/vocalist Shirley Horn's rarest (and earliest) recordings are reissued in full on this single CD. Actually, Horn does not play piano at all, sticking exclusively to vocals, and she had less control over the interpretations (being persuaded to sing some songs at faster-than-usual tempos) than she would later on. The arrangements for the big bands that back Horn were written by Jimmy Jones and Quincy Jones and, although the overall music is enjoyable, Horn would have much preferred to be the pianist behind her own vocals. Since she would only record two other albums during the next 15 years (sticking to playing locally in the Washington, D.C., area while raising her daughter), this CD gives one a valuable look at the early Shirley Horn; her distinctive vocal style was already nearly fully formed.

Shirley Collins' collaboration with the Albion Country Band for No Roses is considered a major event in the history of British folk and British folk-rock. For it was the first time that Collins, roundly acknowledged as one of the best British traditional folk singers, sang with electric accompaniment, and indeed one of the first times that a British traditional folk musician had "gone electric" in the wake of Dave Swarbrick joining Fairport Convention and Martin Carthy joining Steeleye Span. The album itself doesn't sound too radical, however. At times it sounds something like Fairport Convention with Shirley Collins on lead vocals, which is unsurprising given the presence of Ashley Hutchings on all cuts but one, and Richard Thompson and Simon Nicol on most of the selections (Dave Mattacks plays drums on a few tracks for good measure).