Originally recorded in February 1967 and masterfully expanded for this 1999 definitive Impulse! reissue, Everyday I Have The Blues is a towering, joyous, and fiercely swinging masterclass from the definitive voice of big band blues, Jimmy "Mr. Five by Five" Rushing. Best known for his legendary, shouting front-man years with the Count Basie Orchestra, Rushing sounds incredibly vibrant here, bringing his massive, operatic brassy belt and impeccably dry wit to an electrified, brass-heavy studio engine. Arranged and conducted by the brilliant Oliver Nelson, the big band setting roars with a sophisticated, hard-driving urban blues power. Nelson anchors the studio with an absolute elite core of players, utilizing the roaring trumpet shouts of Clark Terry, the deep-pocket, greasy organ lines of Shirley Scott, and a relentless rhythm engine driven by bass titan Milt Hinton and master drummer Grady Tate. Moving seamlessly from the rocking groove of Berkely Campus Blues and the timeless, soulful lament of the title track to definitive, hard-swinging modern updates of his classic Basie book like Sent For You Yesterday and I Left My Baby, this crystalline recording captures a legendary pioneer performing at the absolute peak of his late-career storytelling brilliance.

Organist Shirley Scott's first of three Atlantic LPs was her last recording with her husband, tenor saxophonist Stanley Turrentine, who would soon gain great fame along with a divorce. Although Scott plays well enough and the supporting cast (which includes guitarist Eric Gale) is funky, the material is quite erratic, including Ray Stevens' "Mr. Businessman," "Like a Lover" (which has a rare vocal by the organist), and "Blowin' in the Wind." This collector's item has its interesting moments, but it is one of Shirley Scott's less significant dates.

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.

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.

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.

A groovy groovy electric set from Hammond giant Shirley Scott - a set that really kicks things up in the rhythm department, in a way ties the album as much to Atlantic Records soul of the 60s as it does to some of Scott's earlier work for Prestige! There's a great pulse at the bottom of the tunes - thanks to guitar work from Billy Butler and Eric Gale, and some sweet electric bass from Chuck Rainey - working here in the rhythm section with Jimmy Johnson on drums and Ralph MacDonald on congas. The combination of all these great players on one date really makes things cook - and Shirley's organ sounds groovier than ever - so much so, she also seems free to try out a few sounds here on piano and ondoline as well. Things take on a nicely trippy feel at times, and a funky groove at others.

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 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.