Rhoda Scott - Take A Ladder (1968)
BAND/ARTIST: Rhoda Scott
- Title: Take A Ladder
- Year Of Release: 1968
- Label: Universal Music Division Decca Records France
- Genre: Jazz
- Quality: flac lossless (tracks)
- Total Size: 162 mb
- WebSite: Album Preview
Tracklist
01. Moanin'
02. The Sun Died (Il Est Mort Le Soleil) (Instrumental)
03. Medley From West Side Story (I Feel Pretty/Maria/Tonight)
04. Take A Ladder (Instrumental 1968 France)
05. Ebb Tide (Instrumental)
06. What Kind Of Fool Am I
07. Count Basie
Rhoda Scott, originally from New Jersey and living in France for most of her 40-year career, is one of the world's most celebrated jazz organists. She was trained classically at the Manhattan School of Music, and as the daughter of a minister she was immersed in the music of the gospel church from a young age. She also studied under acclaimed jazz organist Groove Holmes. Scott's style combines the precision of classical music, the swinging groove of jazz and blues, and the deep, rich soul of African-American spirituals. She displays a graceful mastery of the Hammond B-3 organ through her impeccable control over the entire instrument and her tasteful use of drawbar registration. One notable aspect of her technique is that unlike many jazz organists who play bass lines with their left hand, Scott uses her left hand to chord and plays her bass lines entirely with her left foot; she also chooses to play with bare feet, another rarity among organists both classical and jazz alike, and has earned the nickname "The Barefoot Lady". Rhoda Scott is a unique voice in the already obscure realm of jazz organ. Relatively few jazz musicians have adopted the Hammond B-3 as their instrument of choice, which makes a jazz organ performance a special treat for those who appreciate its powerful, dynamic and truly original sound.
The number of jazz musicians having adopted the organ are rather few in number, compared to other instruments used in jazz:: Fats Waller, Jimmy Smith, Bill Doggett, "Wild" Bill Davis, Lou Bennet, Jimmy McGriff, and naturally Rhoda Scott. The latter achieves an original synthesis in her productions and in her music and she allows herself with grace and joy to combine themes which are typically jazz, other religious, but also themes from classical music played in jazz. A minister's daughter, brought up in the classical music tradition, and having attended Manhattan School of Music in New York, surrounded by traditional Afro-American music, how could it be otherwise? This is wat she demonstrates in her music. Thus it is not surprising to discover, other than her original compositions, wel-known jazz tunes, classical music themes or French airs at the same time as certain Gospels or Negro Spirituals. All of this comes from the essence of her personality and the unique characteristics of the Hammond organ, so original on the level of jazz music.
01. Moanin'
02. The Sun Died (Il Est Mort Le Soleil) (Instrumental)
03. Medley From West Side Story (I Feel Pretty/Maria/Tonight)
04. Take A Ladder (Instrumental 1968 France)
05. Ebb Tide (Instrumental)
06. What Kind Of Fool Am I
07. Count Basie
Rhoda Scott, originally from New Jersey and living in France for most of her 40-year career, is one of the world's most celebrated jazz organists. She was trained classically at the Manhattan School of Music, and as the daughter of a minister she was immersed in the music of the gospel church from a young age. She also studied under acclaimed jazz organist Groove Holmes. Scott's style combines the precision of classical music, the swinging groove of jazz and blues, and the deep, rich soul of African-American spirituals. She displays a graceful mastery of the Hammond B-3 organ through her impeccable control over the entire instrument and her tasteful use of drawbar registration. One notable aspect of her technique is that unlike many jazz organists who play bass lines with their left hand, Scott uses her left hand to chord and plays her bass lines entirely with her left foot; she also chooses to play with bare feet, another rarity among organists both classical and jazz alike, and has earned the nickname "The Barefoot Lady". Rhoda Scott is a unique voice in the already obscure realm of jazz organ. Relatively few jazz musicians have adopted the Hammond B-3 as their instrument of choice, which makes a jazz organ performance a special treat for those who appreciate its powerful, dynamic and truly original sound.
The number of jazz musicians having adopted the organ are rather few in number, compared to other instruments used in jazz:: Fats Waller, Jimmy Smith, Bill Doggett, "Wild" Bill Davis, Lou Bennet, Jimmy McGriff, and naturally Rhoda Scott. The latter achieves an original synthesis in her productions and in her music and she allows herself with grace and joy to combine themes which are typically jazz, other religious, but also themes from classical music played in jazz. A minister's daughter, brought up in the classical music tradition, and having attended Manhattan School of Music in New York, surrounded by traditional Afro-American music, how could it be otherwise? This is wat she demonstrates in her music. Thus it is not surprising to discover, other than her original compositions, wel-known jazz tunes, classical music themes or French airs at the same time as certain Gospels or Negro Spirituals. All of this comes from the essence of her personality and the unique characteristics of the Hammond organ, so original on the level of jazz music.
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