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A standout early session from organist Shirley Scott – noteworthy in that it's a quintet recording, different than Shirley's mostly-trio output from the time! Here, she's working in a group that includes Oliver Nelson on tenor sax and Joe Newman on trumpet – and Nelson's edgey tone adds a lot to the record, as it did on other Prestige sides from the same time – a deeper soul vibe than you might normally get from Shirley alone on the Hammond. The tracks are simple swinging soul jazz numbers – handled in tight format by the group – and other players include George Tucker on bass and Roy Brooks on drums. Tunes include "Blue Seven", "Wagon Wheels", "Nancy", "Don't Worry Bout It Baby Here I Am", and "Give Me The Simple Life". CD features the bonus track "How Sweet".

Sweet Hammond grooving from the legendary Shirley Scott – a set that brings together two of her earliest albums for the Moodsville label at Prestige, both of which are in a soulful, mellow, late nite mode! The first album in the set is The Shirley Scott Trio – a date done for the Moodsville subsidiary of Prestige, with the laidback and mellow groove that was typical for the imprint at the time. Shirley actually plays a bit of piano on the record next to her Hammond – tinkling the ivories with a sound that's almost more lyrical than her work on organ. Bass is by either George Tucker or George Duvivier, and Arthur Edgehill is on drums – and tracks include "Gee Baby Ain't I Good To You", "Sweet Lorraine", "I Thought I'd Let You Know", "Spring Is Here", "I Should Care", and "Until The Real Thing Comes Along". Like Cozy is a very well titled little album – as the sound is nice and cozy – just Shirley Scott's organ with a bit of bass and drums, all stepping along in a mellow and soulful mood! The style is what you'd expect from the Moodsville label at the time – a more laidback, more intimate presentation of the talents of Scott – at least in comparison to some of her other work on the main Prestige label. The group here is a familiar one – with George Duviver on bass and Arthur Edgehill on drums – and titles include "My Heart Stood Still", "Once In Awhile", "Laura", "Like Cozy", "Little Girl Blue", and "More Than You Know".

Classic Shirley Scott – in her best mode of the 60s! Here's the reasons: 1. The group features husband Stanley Turrentine on tenor, adding in some nice extra tones to Shirley's usual trio! 2. The rhythm section is Bob Cranshaw and Otis Finch – surely one of Shirley's best. 3. The set was recorded live, in the Front Froom in Newark, with a real down-home gutbucket approach that's different from some of the other Impulse albums. 4. Tracks are long, with plenty of room for soloing – even moreso than some of Shirley's other records of the time. Titles include "That's For Me", "Rapid Shave", and "Squeeze Me". Nuff said!

Hip soulful work from organist Shirley Scott – one of the first records that has her breaking out of the straighter soul jazz sound of her work on Prestige and Impulse – and a gem of a set that features some great funky arrangements from the great Marty Sheller! The group's all-Atlantic all the way through – with players that include King Curtis, Hank Crawford, and David Newman on "soul" saxophones – backing Shirley up on a batch of tunes are mostly takes on 60s pop and soul hits – given a larger band groove, and a sweet Atlantic swing! The album's got a great funky version of "It's Your Thing", plus "I Wish I Knew How it Would Feel To Be Free", "Get Back", and "Natural Woman".

In our humble opinion, Shirley Scott didn't start getting great until she hit the end of the sixties (even though she'd recorded loads throughout the decade). Reason? Because she never could hold up her end in a marathon soul jazz session, and was better suited to some of the over arranged pop/groovy stuff like this album. Proof? The groovy versions of pop stuff enclosed, with people like Eric Gale and Billy Butler backing her, and an electric bass providing the bottom that Shirley could never quite manage. Tracks include "I Want You Back", "Because", "Someday We'll Be Together", and "Can I Change My Mind".

In our humble opinion, Shirley Scott didn't start getting great until she hit the end of the sixties (even though she'd recorded loads throughout the decade). Reason? Because she never could hold up her end in a marathon soul jazz session, and was better suited to some of the over arranged pop/groovy stuff like this album. Proof? The groovy versions of pop stuff enclosed, with people like Eric Gale and Billy Butler backing her, and an electric bass providing the bottom that Shirley could never quite manage. Tracks include "I Want You Back", "Because", "Someday We'll Be Together", and "Can I Change My Mind".

Nice one – and a record that's heavier-duty than Shirley's other ones on Prestige. The album (which might have been recorded in earlier days), supports a great group on the b-side, which includes Wally Richardson, Ronell Bright, Peck Morrison, and Roy Haynes. The expanded lineup works nicely – and the tracks performed ("Work Song" and "Chapped Chops") are both nice and lively, with guitar providing a nice complement to Shirley's light style on the keys.

Searing early work from tenorist Eddie Lockjaw Davis – and a record that really shows the way that Lock was crucial in helping bring the Hammond organ into jazz! The sides were all cut in the mid 50s, right around the time of Jimmy Smith's rise at Blue Note – and feature Hammond from either Shirley Scott or Doc Bagby – both players with just the right sort of rough edge and bluesy tones to work perfectly with Davis' mighty horn – lines on the keyboard that push harder than any piano ever could! The tracks are all nice and short – probably mostly cut for the 45 market – and pack even more punch than any of the later work from the Davis/Scott team. Ray Barretto swings in some hip congas on a few cuts – and titles include "Eddie's Function", "People Will Say We're In Love", "I Wanna Be Loved", "Satin Doll", "You Are Too Beautiful", "Lady Bird", "Scotty Boo", "Ebb Tide", "Tiajuana", "Out Of Nowhere", "All Of You", and "All The Things You Are".

A later set from Shirley Scott, but one that's recorded with an old school lineup that includes Art Harper on bass and Mickey Roker on drums – plus some guest tenor work from the mighty Buck Hill! The tunes are a lot more open and fluid than Scott's sound on Prestige in the 60s – with a bit of the vibe she picked up during her 70s years, as she really started to loosen up from before. And although the tunes are mostly familiar numbers, this approach really changes them up – moving them farther from the standard ballad mode of earlier Scott albums. Shirley plays piano on one track – "Yours Is My Heart Alone" – and all others feature organ, on titles that include "Skylark", "Triste", "More Than You Know", "Blues For Groove", and "Have You Met Miss Jones".

A mellow trio session – Shirley on organ, George Duvivier on bass, and Art Edgehill on drums – done in the moody, loungey style of most of Shirley's work as a leader for Prestige. There's nothing here that's going to hit you over the head, but the album does have a really solid feel overall – the kind of record you'd like to kick back to, especially if you were chilling out in some southside club in the wee hours. Titles include "The Scott", "Four", "Goodbye", "All Of You", "Brazil", and "Trees".

A sweet 60s session from the team of Shirley Scott and Clark Terry – musicians who never played together regularly, but who really work wonders on this unique record! Shirley's got that perfect tone on Hammond she hit during her Impulse Records years – a groove that's leaner and cleaner than Prestige sessions of a few years before – and Terry's got that cool mix of muted sounds and soulful undercurrents that really shown during his work with Bob Brookmeyer – a surprisingly great mix here for Scott's organ lines, especially when mixed with the great grooves of the rhythm section! The set features Mickey Roker on drums, and either Bob Cranshaw or George Duvivier on bass – and titles include "Heat Wave", "Taj Mahal", "Clark Bars", "Up A Hair", "Soul Duo", and "Joonji".

Sure, a number of Shirley's early Prestige sessions were real snoozers – but this album, with husband Stanley Turrentine on tenor, cooks nicely, and has a lot more going on than usual. The pair were a great team while they lasted, and this album's one of their best together – as you'll hear on soulful cuts like "The Funky Fox", "Hip Knees an Legs", "Five Spot After Dark", and "Grand Street".

A killer record by Shirley Scott and Stanley Turrentine – and quite possibly the best they ever did together! The lady organist and husband tenorist play hard, firm, and strong – and the backing by Earl May and Grasella Oliphant is right in the pocket, and bubbles with a nice strong soul jazz groove. The record features their famous version of "In The Still Of The Night", taken at triple-time, with some excellent solo work by both players. Other tracks include 'Gravy Waltz", "Deep Down Soul", and "Soul Shoutin".

Titles include "Day By Day", "Scotty", "Don't Worry Bout Me", "Dee Dee's Dance", "On The Street Where You Live", "I Remember You", and "Land Of Dreams".

Despite a title that might make you think otherwise, this is actually a pretty darn groovy session, one that features Shirley wailing away on the organ, with big Oliver Nelson arrangements behind her – in a style that's similar to Nelson's work on Verve with Jimmy Smith. The set list features tracks that were made big by the bands in the old days, but Shirley and Oliver turn them into sparkling little 60s groovers, thanks to some good arrangements, and to some nice players in the group. Titles include "Tippin In", "Roll 'Em", "For Dancers Only", "Little Brown Jug", "Sophisticated Swing", and "Things Ain't What They Used To Be".

A great album from Shirley Scott – with some excellent arrangements by Gary McFarland! We've always felt that Shirley plays best when she's not leading the group – when someone else is handling the arrangements, so that she can groove mightily on her own – and this album is a perfect illustration of that fact! The album has a sparkling bossa and 60s groove finish – similar to McFarland's albums for Verve at the time – and Shirley's light touch on the Hammond really makes the whole thing dance nicely! Tracks include a sweet version of "Soul Sauce", plus covers like "Can't Get Over the Bossa Nova", "Downtown", and "Dreamsville". Also includes "Latin Shadows", a great original by McFarland!

Volume 3 of Lockjaw's classic early Cookbook sessions – cut for Prestige in a key transitional moment, when Lock was trying to break past the R&B roots of earlier years, and emerge as a more sophisticated jazz soloist, capable of carrying an idea way past the short format of singles and jukebox sides. The sessions provide a perfect format for such an effort – as the tracks are long and open-ended, and match Eddie with a great quintet that includes Shirley Scott on organ and Jerome Richardson on flute and tenor. Tracks include "Heat & Serve", "Simmerin", and "The Goose Hangs High".

A nice little set that combines some of Eddie's rare work for King from the mid 50s! Eddie's tenor is in wonderful form here, working with a real sense of economy on the album's short tracks – a sense that you don't always get in some of his more stretched-out sets for Prestige. Backing on most tracks is by an organ trio – with either Shirley Scott or Doc Bagby at the keys – and titles include "Mean To Me", "The Happy Whistler", "Smooth Ride", "Yesterdays", and "If I Were A Bell".

The title's terrible, but the album's a great one – a really classic-styled jam session, of the sort that the Prestige label hardly ever recorded! The session features 4 tenor giants of slightly older vintage – Eddie Lockjaw Davis, Coleman Hawkins, Arnett Cobb, and Buddy Tate – all coming together in some loosely-structured arrangements that offer the same sympathetic blowing space that you might get from an all-star tenor date on Verve. Rhythm is by a trio with Shirley Scott on organ, George Duvivier on bass, and Art Edgehill on drums – and titles include "Very Saxy", "Fourmost", "Foot Pattin", and "Light & Lovely".

A pretty cool collection produced by Ossie Davis and Ruby Dee – focusing on famous speeches by important female African-Americans – mostly focusing on the civil rights era, but also featuring an early speech by Ida B Wells. Ruby reads the speeches, and works include "I Am A Black Revolutionary Woman (1971)" by Angela Davis, "The Right To A Decent Life & Human Dignity (1971)" by Coretta Scott King, "It Is Time For A Change (1969)" by Shirley Chisolm, and "Lynching, Our National Crime (1901)" by Ida B Wells.

A wealth of unusual records – not just under Oliver Nelson's name, but material for other artists too! The set features the Oliver Nelson-led sessions for Full Nelson, Fantabulous, Jazz Interactions Orchestra/Jazzhattan Suite, Kennedy Dream, and Sound Pieces – plus music from Jimmy Smith albums Who's Afraid Of Virginia Wolff, Peter & The Wolf, Hoochie Coochie Man, Bashin, Hobo Flats, Jimmy Smith & Wes Montgomery. Also features work from the albums Roll Em by Shirley Scott, Ray Brown/Milt Jackson, Leonard Feather's Encyclopedia Of Jazz All Stars, and Spirit Of 67 with Pee Wee Russell.

Killer work from the last years of Stanley Turrentine on Blue Note – tracks that appeared here for the first time ever, as a long-overdue LP release at the end of the 70s! The bulk of the set features some compelling quartet work – with Stan's tenor in the company of McCoy Tyner on piano, Gene Taylor on bass, and Billy Cobham on drums – almost in Easy Walker sort of territory, with a great stepping soulful groove – but a bit more fluid, given the Tyner touch! That quartet plays "Stan's Shuffle", "Watch What Happens", "Intermission Walk", and "Wave". The set ends with the killer title track "Ain't No Way" – a tenor/Hammond cooker based on the Carolyn Franklin soul tune – really given a workout by Stan and a group that features Shirley Scott on organ and Jimmy Ponder on guitar!

Quite an unusual little album for Gerald Wiggins – a set that features him on the Hammond organ instead of the piano, recorded as a rare soul jazz outing by a young David Axelrod! The session's got a vamping intensity that's quite different from most of the other LA jazz on the Hi Fi label, and overall the record sounds a lot more like work on Prestige at the same point – with Wiggins using a real stops-out approach to the Hammond, and Harold Land blowing some loose and relaxed lines on the tenor sax that are mighty soulful! The trio's completed by drummer Jackie Mills, and the overall spirit is very much in the mode of work by Shirley Scott or Don Patterson. Titles include "Yes Dove", "Don't Get Around Anymore", "Wiggin Out", and "Teach Me Tonight".

One of our favorite compilations of all time – a smoking batch of soulful jazz from the 60s, with a slight bit of funk and blues thrown in as well! The set's exactly what's promised in the title – jazz cuts, but with an ultra-cool mod vibe – the kind of soulful sounds that played big with the younger London crowd digging American music in the mid 60s – and also the kind of music you'd be likely to find blasting out of a backroom jukebox on the west side of Chicago! There's loads of rare single mixes of LP tracks on the set, and a number of smoking 45s from artists you might know better from more mainstream work – really hitting hard here, alongside a few special numbers from the indie underground too. Tracks are cool enough for old school hipsters – but appealing enough to bring in a new listener too – and as proof of that, we've given this one away for many years as a Christmas present. The collection features 25 tracks in all – non-stop pleasure throughout – with titles that include "Soul Shoutin" by Shirley Scott, "Tengo Tango" by Cannonball Adderley Sextet, "Whip It On Me" by Billy Hawks, "Yeh Yeh" by Mongo Santamaria, "Black Talk" by Charles Earland, "I'm Ready" by Otis Spann, "Mama Rufus" by Merced Blue Notes, "Theme From NYPD" by Johnny Hammond, "Step Out & Get It" by The Nomos, "Why Don't You Do Right" by Mark Murphy, "Collard Greens" by Freddie McCoy, "Theme From The Carpetbaggers" by Jack McDuff, "Filthy McNasty" by Eddie Jefferson, "Evil Ways" by Cal Tjader, "Kenny's Theme" by Kenny Burrell, and "Games" by Ivan Boogaloo Joe Jones.

An unusual later album from Dexter Gordon – and one of his few sessions ever with Hammond organ! Shirley Scott handles the keys of the B-3 – and the group also features Grover Washington Jr on soprano sax, Kirk Lightsey on piano, and Eddie Gladden on drums. Titles include "Besame Mucho", "Skylark", "Sticky Wicket", and "For Soul Sister" – plus an interview with Dex!

One of our favorite compilations of all time – a smoking batch of soulful jazz from the 60s, with a slight bit of funk and blues thrown in as well! The set's exactly what's promised in the title – jazz cuts, but with an ultra-cool mod vibe – the kind of soulful sounds that played big with the younger London crowd digging American music in the mid 60s – and also the kind of music you'd be likely to find blasting out of a backroom jukebox on the west side of Chicago! There's loads of rare single mixes of LP tracks on the set, and a number of smoking 45s from artists you might know better from more mainstream work – really hitting hard here, alongside a few special numbers from the indie underground too. Tracks are cool enough for old school hipsters – but appealing enough to bring in a new listener too – and as proof of that, we've given this one away for many years as a Christmas present. The collection features 25 tracks in all – non-stop pleasure throughout – with titles that include "Soul Shoutin" by Shirley Scott, "Tengo Tango" by Cannonball Adderley Sextet, "Whip It On Me" by Billy Hawks, "Yeh Yeh" by Mongo Santamaria, "Black Talk" by Charles Earland, "I'm Ready" by Otis Spann, "Mama Rufus" by Merced Blue Notes, "Theme From NYPD" by Johnny Hammond, "Step Out & Get It" by The Nomos, "Why Don't You Do Right" by Mark Murphy, "Collard Greens" by Freddie McCoy, "Theme From The Carpetbaggers" by Jack McDuff, "Filthy McNasty" by Eddie Jefferson, "Evil Ways" by Cal Tjader, "Kenny's Theme" by Kenny Burrell, and "Games" by Ivan Boogaloo Joe Jones.

A really great later Blue Note session from Stanley Turrentine – a small combo set that's almost a return to the format of earlier years! The group's a strong one – and features Shirley Scott on organ, Jimmy Ponder on guitar, and Idris Muhammad on drums – playing in a style that's subtler and more laidback than his work with Lou Donaldson, but which still has a nice funk undercurrent. Stan's horn is in wonderful form on the record – really taking advantage of the longer tracks to open up with a mellow and exploratory tone – and the team of Scott and Ponder especially sounds great next to each other on the album. Tracks include "Boogaloo", "Buster Brown", and "Common Touch". CD also features a bonus 11 minute version of Carolyn Franklin's fiesty cut "Ain't No Way"!

Classic 60s soul jazz from Eddie Lockjaw Davis – more than an album's worth of materal on a single CD! First up is part of the album Misty – great work from the famous team that featured Eddie Lockjaw Davis on tenor and Shirley Scott on organ – recorded here in the mellow, open-ended setting of Prestige Records' Moodsville label – a perfect setting for the late nite stylings of the pair! There's a slight more groove to this session than some of the other Moodsville date – thanks to the presence of Ray Barretto in the group on congas –a longside the bass of George Duvivier and drums of Arthur Edgehill. CD also adds in the track "From This Moment On". Goin To The Meetin is a great one – and one of the rarest Prestige dates from Eddie Lockjaw Davis! The album features a unique group that includes Horace Parlan on piano – in place of the organ that had graced many of Davis' earlier Prestige records – with added groovy energy from Buddy Catlett on bass, Art Taylor on drums, and Willie Bobo on congas – all players who seem to give Davis an even sharper edge than before – not entirely the modern tones of his pairings with Johnny Griffin, but a bit less sleepy than in the company of a Hammond. The congas really kick things up nicely – and there's an undercurrent of fire that almost recalls some of the best Blue Note dates of this nature from the time. Titles include "Little Cougar", "Yes Yes", "Pass The Hat", "Goin To Meetin", and "Oh Babee".

A solidly soulful session from Stanley Turrentine – one of his few Blue Note dates in the company of organist Shirley Scott, and possibly the hardest-hitting of the bunch! The album's got a great added element in the front line – the trumpet of Blue Mitchell, which really rounds out the sound alongside Stan's tenor and Shirley's Hammond – making for a really full approach, even though the group's a quintet – almost in the mode of some of Turrentine's dates with his brother Tommy, but a bit more lown-down and dirty! There's a definite Basie influence going on but the sound is much leaner overall – and other players include Earl May on bass and Al Harewood on drums. Titles include "One O'Clock Jump", "Midnight Blue", "Blues In Hoss' Flat", and "Cherry Point".

Classic 60s soul jazz from Eddie Lockjaw Davis – more than an album's worth of materal on a single CD! First up is part of the album Misty – great work from the famous team that featured Eddie Lockjaw Davis on tenor and Shirley Scott on organ – recorded here in the mellow, open-ended setting of Prestige Records' Moodsville label – a perfect setting for the late nite stylings of the pair! There's a slight more groove to this session than some of the other Moodsville date – thanks to the presence of Ray Barretto in the group on congas –a longside the bass of George Duvivier and drums of Arthur Edgehill. CD also adds in the track "From This Moment On". Goin To The Meetin is a great one – and one of the rarest Prestige dates from Eddie Lockjaw Davis! The album features a unique group that includes Horace Parlan on piano – in place of the organ that had graced many of Davis' earlier Prestige records – with added groovy energy from Buddy Catlett on bass, Art Taylor on drums, and Willie Bobo on congas – all players who seem to give Davis an even sharper edge than before – not entirely the modern tones of his pairings with Johnny Griffin, but a bit less sleepy than in the company of a Hammond. The congas really kick things up nicely – and there's an undercurrent of fire that almost recalls some of the best Blue Note dates of this nature from the time. Titles include "Little Cougar", "Yes Yes", "Pass The Hat", "Goin To Meetin", and "Oh Babee".

The title's terrible, but the album's a great one – a really classic-styled jam session, of the sort that the Prestige label hardly ever recorded! The session features 4 tenor giants of slightly older vintage – Eddie Lockjaw Davis, Coleman Hawkins, Arnett Cobb, and Buddy Tate – all coming together in some loosely-structured arrangements that offer the same sympathetic blowing space that you might get from an all-star tenor date on Verve. Rhythm is by a trio with Shirley Scott on organ, George Duvivier on bass, and Art Edgehill on drums – and titles include "Very Saxy", "Fourmost", "Foot Pattin", and "Light & Lovely".