Scott Richardson

Christian Scott aTunde Adjuah has steadily broadened the scope of his artistry beyond the trumpet, never more so than with Ancestral Recall. The horn still plays a vital role, with its urgent high-register cries and harmonized melodies. But rhythm is the emphasis here, situating Scott’s New Orleans heritage in a global perspective as he conjures electronic pulses and gives a central role to the West African percussion of Weedie Braimah and the drumming of Corey Fonville (with three additional percussionists on the first two tracks).

Shirley Scott - Latin Shadows (1965) {Impulse! Japan, Cardboard Sleeve UCCI-9075 rel 2007}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 207 Mb | MP3 @320 -> 83 Mb
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© 1965, 2007 Impulse! / MCA / Universal Japan | UCCI-9075
Jazz / Soul Jazz / Modern Arrangement / Latin Jazz / Organ

My own approach to this album is from the Gary McFarland perspective. McFarland was an arranger, vibe player, and producer who operated for about a decade until his life was cut tragically short. He is the arranger (and one of the musicians) on this album. This album is best seen as a collaboration between Scott and McFarland. As such, it bears the hallmarks of McFarland's sound. His sound at this time was particularly reflective of the bossa nova and latin sounds that rose to prominence in the early-to-mid '60s. Latin Shadows is an excellent and successful example of McFarland's work, with the lovely Ms. Scott starring as the featured soloist.

Shirley Scott - Workin' (1993) {Prestige PRCD-24126-2 rec 1958-1961}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 387 Mb | MP3 @320 -> 158 Mb
Full Artwork @ 300 dpi (jpg) -> 12 Mb | 5% repair rar
© 1958-61, 1993 Prestige / Fantasy | PRCD-24126-2
Jazz / Hard Bop / Soul Jazz / Jazz Blues / Organ Hammond B-3

A slightly odd, transitional release, 1966's Workin' finds organist Shirley Scott moving away from the small-combo format she worked in (most often with husband Stanley Turrentine) during the early '60s into slightly larger arrangements more in keeping with the mid-'60s trend toward groove-based soul-jazz in which she was the primary, and usually only, soloist. Tunes like "Autumn Leaves," which is practically a solo performance with absolutely minimal bass and drums (perhaps a nod to pianist Bill Evans, who did the tune regularly in a similarly stripped-down fashion), sit next to bluesy vamps like the extended, smoky "Chapped Chops" and gospel workouts like a groove-oriented version of the old church standard "Down By the Riverside," on which Scott sounds uncomfortably like the little old lady who plays choppy, repetitive, bass-heavy organ runs at the baseball stadium.