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.

The Atlantic Jazz series continues with this slice of mostly '60s jazz-soul treats. Fittingly, the 11-track disc includes a side by one of the prime progenitors of soul, Ray Charles: He and MJQ vibraphonist, Milt Jackson, stretch out on the canonized "How Long Blues." Further expounding on the soul-jazz trajectory, the collection spotlights work by organist Shirley Scott (the Aretha Franklin hit "Think"), Les McCann and Eddie Harris (their classic Montreux Festival cut "Compared to What"), Yusef Lateef ("Russell and Elliot"), and Hank Crawford ("You're the One"). And there's even a bit of boogaloo-enhanced bossa, compliments of trumpeter Nat Adderley ("Jive Samba"). The soundtrack to your next retro-cool shindig.

The Hammond organ, named after its inventor Laurens Hammond, debuted in 1935 as a cost-effective electro-acoustic alternative to the gigantic pipe organs mainly installed in churches. Among Hammond’s first customers were George Gershwin and Count Basie. Jazz pianists like Basie, Fats Waller, Wild Bill Davis and Milt Buckner were the founding fathers of the instrument’s international conquest, which led across all styles of popular music, from jazz to progressive rock, with its heyday in the 1960s and '70s…

All of the many collaborations between organist Shirley Scott and tenor saxophonist Stanley Turrentine in the 1960s resulted in high-quality soul jazz, groovin' music that was boppish enough to interest jazz listeners and basic enough for a wider audience. This CD reissue has the duo (joined by bassist Bob Cranshaw and drummer Otis "Candy" Finch) performing a pair of Scott originals, Benny Golson's "Five Spot After Dark," Sonny Rollins' obscure "Grand Street" and the veteran standard "Flamingo."

This exceptional release includes the complete recordings of Eddie "Lockjaw" Davis' collaboration with the inimitable organist. The band remains loose and relaxed throughout 24 classic standards, continuously feeding off of one another and always playing with style, grace and impeccable taste.

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.

Organist Shirley Scott and her then-husband, tenor great Stanley Turrentine always made potent music together. This CD, which combines together the former Prestige LPs The Soul Is Willing and Soul Shoutin', finds "Mr. T." at his early peak, playing some intense yet always soulful solos on such pieces as Sy Oliver's "Yes Indeed," "Secret Love," and his memorable originals "The Soul Is Willing" and "Deep Down Soul." Scott, who found her own niche within the dominant Jimmy Smith style, swings hard throughout the set and (together with drummer Grassella Oliphant and either Major Holley or Earl May on bass) the lead voices play with such consistent enthusiasm that one would think these were club performances.

Soul Searching spotlights Shirley Scott's accelerated development as a composer - originals like "Duck and Rock" and "Plunk Plunk Plunk" are solidly yet spaciously constructed, affording Scott's Hammond organ the room to vamp, flutter, and wail its way in and around the melodies. Longtime collaborators Wendell Marshall on bass and Arthur Edgehill on drums are typically effective in establishing the simple but lively rhythms that keep Scott's more self-indulgent impulses in check - each song is a model of energy and efficiency as tight as an outgrown pair of shoes. Still, taken as a whole Soul Searching wears thin - the austerity of the arrangements offers little variation from track to track, and after a while one wishes for additional elements in the mix, à la Scott's more soulful outings with husband/tenor saxophonist Stanley Turrentine.