Listen: A Shot In The Dark / Shirley Scott Trio
A Shot In The Dark / Shirley Scott Trio
Why The Shirley Scott Trio didn’t do a James Bond theme escapes me. If ever there was proof of that potential, it’s on this remake of Henry Mancini’s ‘A Shot In The Dark’. Hints of blaxploitation are seeded within this Oliver Nelson arrangement / Bob Thiele production most likely by accident instead of design. From the absolute must have GREAT SCOTT album, the bombastic arrangements almost can’t be topped. Search it out, if only for the fantastic cover shot of Shirley during her classic blond hair dye job gone wrong period of ’64 – ’65.
Married to Stanley Turrentine during the 60′s, they shared recording contract obligations, releasing as many as ten albums between them on a yearly basis at one point. Another born again of the Jimmy Smith church, Shirley switched from piano and trumpet to a big Hammond B3 shortly after seeing him live in her home town of Philadelphia.
Listen: Keep The Faith, Baby / Shirley Scott Trio
Keep The Faith, Baby / Shirley Scott Trio
For my palate, ‘Keep The Faith, Baby’ is the ultimate peak of her vast body of recorded work, certainly the 7″ singles. Not only does it live up to the mod jazz tag often associated with her mid 60′s stuff, but it reminds me of how lucky I was to frequent Seattle in the early 90′s, when the town was bursting with used record stores.
There was a chain, privately owned, specializing in singles, all divided up by genre. I spent hours pawing through those bins. Everything, particularly jazz, was a steal. A good portion of my Shirley Scott singles, around twenty, came from those trips. It was very bizarre to me that nobody, including collectors, was interested in jazz 7′s. God, I drooled over them. Thick vinyl pressings on Impulse, Verve and Blue Note were too much to pass up. And I’m glad now that I didn’t.
‘Keep The Faith, Baby’ was recorded on January 13, 1967 at Capitol Studios in New York, again with Bob Thiele producing. It features the ultimate Shirley Scott Trio lineup with George Duvivier on bass and Mickey Roker, drums.