Jazz / Vocal, Traditional Pop, Vocal Jazz
Al Schmitt Mixing, Engineer
Angelo Montrone Production Coordination
Bill Bentley Executive Producer
Chris Albert Assistant Engineer
Chris Rich Assistant Engineer
Dale Oehler Arranger
Dave Reitzas Engineer
David "Fathead" Newman Sax (Tenor), Saxophone
Doug Sax Mastering
Grady Tate Drums
JoDee Stringham Design, Art Direction
Joe McEwen Executive Producer
John Clayton Arranger
John Pisano Guitar
Johnny Mandel Arranger
Kenny Barron Piano
Little Jimmy Scott Vocals
Molly Reeve-Morrison Project Coordinator
Ray Blair Assistant Engineer
Ron Carter Bass
Seymour Stein Executive Producer
Todd Whitelock Assistant Engineer
Tommy LiPuma Producer
The recording history of Little Jimmy Scott is peppered with long hiatuses from the recording studio. He was absent for a period of seven years from 1962 to 1969 and then for more than 15 years from 1975 to 1990. Bordering on singing in the range of a counter tenor, Scott brings a distinctive, immediately recognizable sound and sensitivity to material he sings. It is hard to find any other vocalist, other than Billie Holiday, who matches Scott's depth of emotion that he applies to the classic standards he favors. All the Way was recorded more than 40 years after Scott made his first album for Roost. Over those years, even with his long absences, he has been able to command the services of top of the line musicians. He is one of those rare vocalists that jazz musicians like to be on the stage or in the studio with. And this album is no exception, featuring an all-star lineup that includes Kenny Barron, Ron Carter, and Grady Tate on rhythm. David "Fathead" Newman's soulful sax on such cuts as "All the Way" compliments Scott's delivery perfectly. Like Scott, Newman leaves abundant room between the measures to allow the song to breathe, the listeners to gain the full flavor of what he has played and to anticipate what's to follow in a second or two. On such tunes as "Angel Eyes" and "At Last," Scott's delivery goes beyond mere poignancy, and moves close to reverence, such respect he has for the classics he has put in the song list. This is good stuff. Strings magically appear on some tracks. But they are done tastefully and don't get in the way. Jimmy McDonough's knowledgeable highlights of Scott's career are a welcome added attraction. ~ Dave Nathan, All Music Guide |
