Editorial Review:
Queen Talk: Live at the Left Bank is an official never before released concert recording from one of the greatest female jazz organists of all-time, Shirley Scott, featuring a powerhouse trio with George Coleman on tenor saxophone and Bobby Durham on drums, plus special guest vocalist Ernie Andrews on three tracks. The set was transferred from the original tape reels and features almost 100 minutes of music and is packaged in a gatefold sleeve with an extensive booklet with liner notes by acclaimed music writer A. Scott Galloway; rare photos by Don Schlitten and Raymond Ross, and memorabilia from the Left Bank archives; plus interviews with jazz organ icon Joey DeFrancesco, former Shirley Scott bandmate, saxophonist Tim Warfield, and pianist Monty Alexander reminiscing about drummer Bobby Durham. The set is co-produced by label owner musician Cory Weeds and renowned archival recording producer Zev Feldman.
The show was recorded at the Famous Ballroom in Baltimore Maryland on August 20, 1972 and hasn't ever been previously available. Philadelphia born Scott rose to fame in the late 1950s playing the Hammond B-3 organ influenced by blues and gospel evolving into '60s soul jazz. She recorded numerous albums for Prestige, Impulse!, Atlantic, Cadet and Candid performing with countless jazz legends including Stanley Turrentine, Oliver Nelson, Eddie "Lockjaw" Davis, Clark Terry and Kenny Burrell.
The 10-track set cooks on songs of the day like "By the Time I Get to Phoenix," "You Don't Mess Around With Jim," and "Never Can Say Goodbye," along with standards such as "Smile," "Witchcraft" and John Coltrane's "Impressions."
Review
by Matt Collar
Culled from the recording archives of the Baltimore-based Left Bank Jazz Society, Queen Talk: Live at the Left Bank captures organist Shirley Scott in a fiery 1972 performance. Best known for her '50s work with saxophonist Eddie "Lockjaw" Davis, Scott had developed into a swaggeringly adept bandleader in her own right by the 1970s. For most of the decade prior, she had worked alongside her husband, tenor saxophonist Stanley Turrentine, helping to craft his funky, organic brand of soul-jazz. Divorced from Turrentine and having signed her own contract with Cadet Records, Scott had already embarked on her own career by the time she hit the stage in August 1972. Notably, most of her early recordings found her working with a bassist. The choice was largely a label attempt at setting her apart from other organists, but one that undermined her immense, multi-tasking keyboard abilities. Here, she handles both keyboard and bass duties, deftly laying down bass grooves via the Hammond B-3 foot pedals in the traditional organ style. Throughout, her playing is boldly harmonic and rhythmically assured, marked by thick chordal blasts that shimmer like waves in the sun. Riding those waves are drummer Bobby Durham and tenor saxophonist George Coleman (who valiantly carved out his own place in jazz history as the saxophonist after John Coltrane and before Wayne Shorter in Miles Davis' quintet). Coleman had just played on Scott's third Cadet album, Lean on Me. On this night, both musicians sound relaxed and ready to let loose. Let loose they do, tackling an inspired mix of standards and reworked contemporary billboard hits, including a driving version of Coltrane's "Impressions" in which Scott matches Coleman's edgy note choices line for line. They also dig into soulful readings of Jimmy Webb's "By the Time I Get to Phoenix" and Gloria Gaynor's "Never Can Say Goodbye," both full of earthy, golden-hour vibes, making the strong case that jazz musicians often sound the best when they put their own twist on unexpected pop tunes. Also jumping on board late in the set is singer Ernie Andrews, who brings his urbane, lover-man style to Jim Croce's "You Don't Mess Around with Jim" and a raucously playful take on "Girl Talk." During the introduction to "Girl Talk," Andrews encourages the audience to clap and give it up to Scott and her trio, calling her "the First Lady of Hammond." As the album implies, Scott was actually known as the "Queen of the Organ." Regardless of title, on Queen Talk: Live at the Left Bank, Scott is jazz royalty personified.
https://www.allmusic.com/album/queen-talk-live-at-the-left-bank-mw0003946927
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Reseña editorial:
Queen Talk: Live at the Left Bank es una grabación oficial inédita de un concierto de una de las mejores organistas de jazz de todos los tiempos, Shirley Scott, con un potente trío con George Coleman al saxo tenor y Bobby Durham a la batería, además del cantante invitado especial Ernie Andrews en tres temas. El disco se ha transferido de las cintas originales, contiene casi 100 minutos de música y se presenta en una carátula con un extenso libreto con notas del aclamado escritor musical A. Scott Galloway; fotos poco comunes de Don Schlitten y Raymond Ross, y recuerdos de los archivos de Left Bank; además de entrevistas con el icono del órgano de jazz Joey DeFrancesco, el antiguo compañero de banda de Shirley Scott, el saxofonista Tim Warfield, y el pianista Monty Alexander recordando al batería Bobby Durham. El disco ha sido coproducido por el músico Cory Weeds, propietario del sello, y el prestigioso productor de grabaciones de archivo Zev Feldman.
El espectáculo se grabó en el Famous Ballroom de Baltimore, Maryland, el 20 de agosto de 1972 y nunca antes había estado disponible. Scott, nacido en Filadelfia, saltó a la fama a finales de la década de 1950 tocando el órgano Hammond B-3 con influencias del blues y el gospel que evolucionaron hacia el soul jazz de los años 60. Grabó numerosos álbumes para Prestige, Impulse!, Atlantic, Cadet y Candid actuando con innumerables leyendas del jazz como Stanley Turrentine, Oliver Nelson, Eddie "Lockjaw" Davis, Clark Terry y Kenny Burrell.
El set de 10 pistas se cocina con canciones del momento como "By the Time I Get to Phoenix", "You Don't Mess Around With Jim" y "Never Can Say Goodbye", junto con estándares como "Smile", "Witchcraft" e "Impressions" de John Coltrane.
Reseña
por Matt Collar
Extraído de los archivos de la Left Bank Jazz Society de Baltimore, Queen Talk: Live at the Left Bank recoge la actuación de la organista Shirley Scott en 1972. Conocida sobre todo por su trabajo de los años 50 con el saxofonista Eddie "Lockjaw" Davis, Scott se había convertido en los años 70 en una hábil directora de orquesta por derecho propio. Durante la mayor parte de la década anterior, había trabajado junto a su marido, el saxofonista tenor Stanley Turrentine, ayudando a crear su estilo funky y orgánico de soul-jazz. Divorciada de Turrentine y habiendo firmado su propio contrato con Cadet Records, Scott ya se había embarcado en su propia carrera cuando subió al escenario en agosto de 1972. En la mayoría de sus primeras grabaciones trabajaba con un bajista. La elección fue en gran medida un intento de la discográfica de diferenciarla de otros organistas, pero que socavó sus inmensas habilidades como teclista multitarea. Aquí, se encarga tanto del teclado como del bajo, estableciendo hábilmente los surcos del bajo a través de los pedales del Hammond B-3 al estilo tradicional del órgano. En todo momento, su interpretación es audazmente armónica y rítmicamente segura, marcada por gruesas explosiones de acordes que brillan como olas al sol. En esas olas están el batería Bobby Durham y el saxofonista tenor George Coleman (que se labró valientemente su propio lugar en la historia del jazz como saxofonista después de John Coltrane y antes de Wayne Shorter en el quinteto de Miles Davis). Coleman acababa de tocar en el tercer álbum de Scott Cadet, Lean on Me. Esta noche, ambos músicos suenan relajados y dispuestos a soltarse. Y así lo hacen, abordando una inspirada mezcla de standards y éxitos contemporáneos, incluyendo una versión de "Impressions" de Coltrane en la que Scott iguala línea a línea las enérgicas elecciones de notas de Coleman. También se adentran en lecturas conmovedoras de "By the Time I Get to Phoenix" de Jimmy Webb y "Never Can Say Goodbye" de Gloria Gaynor, ambas llenas de vibraciones terrenales y doradas, demostrando que los músicos de jazz a menudo suenan mejor cuando dan su propio giro a melodías pop inesperadas. El cantante Ernie Andrews también se unió a la banda al final del set, aportando su estilo urbano y enamoradizo a "You Don't Mess Around with Jim" de Jim Croce y a una versión estridente y juguetona de "Girl Talk". Durante la introducción de "Girl Talk", Andrews anima al público a aplaudir y rendirse a Scott y su trío, llamándola "la Primera Dama del Hammond". Como da a entender el álbum, Scott era en realidad conocida como la "Reina del Órgano". Independientemente del título, en Queen Talk: Live at the Left Bank, Scott es la realeza del jazz personificada.
https://www.allmusic.com/album/queen-talk-live-at-the-left-bank-mw0003946927
CD 1
1. Impressions (J.Coltrane)
2. Never Can Say Goodbye (C.Davis)
3. Like Someone In Love (J.Van Heusen)
4. Witchcraft (C.Coleman)
CD 2
1. Blues By Five (R.Garland)
2. By The Time I Get To Phoenix (J.Webb)
3. Smile (C.Chaplin)
4. You Don't Mess Around With Jim (J.Croce)
5. Girl Talk (N.Hefti)
6. Blues (Unknown)
Credits:
Shirley Scott - Hammond B3 organ
George Coleman - tenor saxophone
Bobby Durham - drums
Ernie Andrews - voice
Recorded live at the Famous Ballroom in Baltimore, MD, USA, on August 20, 1972.
Label: Reel To Real (2) – RTR-LP-009
Released: Apr 22, 2023
Genre: Jazz
Style: Post Bop, Contemporary Jazz
https://www.discogs.com/release/26847092-Shirley-Scott-Queen-Talk-Live-at-the-Left-Bank
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