Shirley Scott - Roll 'Em: Shirley Scott Plays The Big Bands (LP)
- LP
- 1 piece(s)
- 1966
- 10 tracks
- 39 min
- soul jazz
Roll 'Em: Shirley Scott Plays The Big Bands
Whether you're just starting your vinyl collection or have been spinning for years, the right turntable makes all the difference. We've selected the best options for every budget.
Discover our selection of turntables
4.5
Average of 4 reviews
2
2
0
0
0
Whether a review is positive, negative, or neutral, we always publish it. However, we screen every review to ensure it is authentic and free of profanity. These checks happen automatically, though a human occasionally steps in. We never pay for reviews.
Shirley Scott’s "Roll ‘Em" offers a captivating experience on multiple fronts. Firstly, you're likely already familiar with the tunes Shirley is presenting here with her seventeen-piece big band, making it a delight to simply relax and enjoy the music without the usual analytical approach jazz often demands. Secondly, there's no groundbreaking material on this album; the phrasing, the chords, the notes, the performance—it's all been heard before, leaving "Roll 'Em" as a pleasant journey through the musical expressions and sounds crafted here. However, when "Stompin' At The Savoy" filled my listening space, I was enthralled by the unique path Scott's organ took with the song. Interestingly, when thinking about women in jazz, the names that typically come to mind are usually singers like Ella Fitzgerald or Billie Holiday, perhaps because vocalists are more easily recognizable. Shirley, with her lush, beautiful, petite yet powerful presence, ignited my imagination that she might be intentionally tackling these songs—numbers that seemed too grand or expansive for a woman to embrace. Scott proves she's more than capable of leading a big band, steering its direction, and emerging triumphant, showing she can hold her own against anyone in the realm of music that invites easy comparison. So, while I don't want to dismiss this album as unoriginal or not challenging enough, it's impressive to hear Shirley create perfect, flawless circles that, while not bold or majestic, resonate with the heart of all that's pure and, dare I say, innocent, in the purest elements of sophistication. After all, a simple black dress with an understated string of pearls conveys volumes without needing to be flashy or exuberant.
Though the title suggests otherwise, just four out of the ten tracks feature a large ensemble, specifically a fourteen-piece horn section here. "Sophisticated Swing" and the album's title track really shine among the big band numbers. The remaining half dozen songs are in a trio format with organ, bass, and drums. Standout tracks include "Stompin' At The Savoy", "Ain't Misbehavin'", "A Tisket A Tasket", and "Tippin' In". This album is a delight, showcasing Scott's nimble, melodic, and carefree take on the B-3, while Nelson's brass arrangements are tasteful, unobtrusive, and complement rather than overpower. No complaints about this pressing, the soundstage has a warm and spacious ambiance that's inviting and enveloping, with solid bass, crisp percussion, and a nice fullness to the organ sound. My copy plays quiet and clean, with just a hint of faint surface noise at the start of side two.
Shirley Scott’s Roll ‘Em offers a unique listening experience for a few reasons. Firstly, you're probably already familiar with the songs Shirley and her seventeen-piece big band are playing, so it's a treat to just relax and enjoy the tunes without the usual jazz-listening scrutiny. Secondly, there are no surprises on this album; the phrasing, the chords, the notes, the performance—it's all been done before, making Roll ‘Em a pleasant journey through the musical ideas and sounds presented here. However, when "Stompin' At The Savoy" filled my listening space, I was captivated by the path Shirley's organ took with the song. Interestingly, when thinking about women in jazz, the first names that come to mind are often the singers, like Ella Fitzgerald or Billie Holiday, perhaps because singers are more visible and recognizable. Shirley was a petite, beautiful, and incredibly powerful figure for her time, which made me imagine that she might be intentionally tackling these songs—numbers that seemed too grand or expansive for a woman to take on. Scott proves that she can confidently lead a big band, navigate its course, and emerge showing that she can hold her own against anyone in the world of music that's easily comparable. So, while I don't want to dismiss this album as unoriginal or not challenging enough, it's impressive to hear Shirley create perfect, flawless circles that, while not bold or majestic, strike at the heart of all that's pure and, dare I say, innocent when it comes to the purest elements of sophistication. After all, a simple black dress with a subtle string of pearls speaks volumes without needing to be flashy or extravagant.
Even though the title suggests otherwise, just four out of the ten tracks feature a large ensemble, specifically a fourteen-piece horn section. "Sophisticated Swing" and the title track are particularly noteworthy among the big band pieces. The remaining six songs are presented in a trio format with organ, bass, and drums. Standout tracks include "Stompin' At The Savoy", "Ain't Misbehavin'", "A Tisket A Tasket", and "Tippin' In". This album is a delightful listen, showcasing Scott's nimble, melodic, and carefree style on the B-3, while Nelson's brass arrangements are tasteful, unobtrusive, and complement rather than overpower. The sound quality of this pressing is excellent, offering a warm and spacious ambience that is inviting and immersive, with a solid bass, crisp percussion, and a rich organ sound. My copy plays quietly and cleanly, with only a hint of faint surface noise at the start of side two.
We don't have a live price right now, but stock fluctuates daily. You can check for hidden stock on Amazon directly, or let us alert you as soon as it is available.