She also did some piano recordings in the 1990s. Scott recorded less in the 1970s as organ combos fell out of favor, but she returned again in the following decade, including on dates with Al Grey, Jimmy Forrest, and Dexter Gordon. Did we really need an organ rendition of On a Clear Day (You Can See Forever)" or The Beatles' Something"? On her dates from the late Sixties, Scott tended to include a few too may pop tunes, which perhaps tainted her reputation somewhat. Turrentine's Never Let Me Go, Hustlin' (probably my favorite), and Let It Go are also wonderful albums from this period, mixtures of blues, bop, and pop songs, with great interaction between sax and organ. Scott's 1963 albums The Soul is Willing and Soul Shoutin' are a great place to hear her play if you don't know her music (they are available together on a Prestige CD). In the 1960s, Scott teamed up - personally and professionally - with sax man Stanley Turrentine, and this collaboration produced winning music over a number of years. Most people think of electricity as the ability to drown everybody else out. It's an infinite number of tones," Scott once said. On the organ, no one knows how many different sounds you can get. Scott first came to prominence working with sax great Eddie Lockjaw" Davis in the late 1950s, particularly on the 1958 hit song In the Kitchen." Her style encompassed bebop chordal harmonies with a blues and gospel influenced sense of rhythm she had a lighter touch but punctuated her playing with the bass pedal (as Jimmy Smith did), epitomizing the soul-jazz organ sound. She was an admirer of fellow Philadelphian Jimmy Smith, as were so many other jazz artists. She played piano and trumpet before settling in at the Hammond B-3 organ. But organist Shirley Scott was certainly the only jazz musician to succumb to the effects of a diet drug. Jazz history is riddled with stories about the tragic consequences of drug use.
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