Jazz / Vocal, Early R&B, Standards, Traditional Pop, Vocal Jazz
Al Grey Trombone
Andy Kman Production Coordination
Benny Bailey Trumpet
Benny Powell Trombone
Billy Taylor Piano
Billy Vera Liner Notes
Billy Williams & Choir Sax (Tenor)
Bobby Plater Sax (Alto)
Clarence Williams Sax (Baritone)
Curtis Lowe Sax (Tenor)
Danny Bank Sax (Baritone)
Doug Duke Organ, Piano
Duke Garrette Trumpet
Ed Mullens Trumpet
Erick Labson Digital Transfers, Audio Enhancement, Remastering
George Berg Sax (Tenor)
Gil Askey Trumpet
Harold Baker Trumpet
Harry Weinger Reissue Supervisor
Herb Lovelle Drums
Hollis King Design, Art Direction
Isabelle Wong Package Design
Jerome Richardson Sax (Alto), Flute
Jerry Jerome Sax (Alto)
Jerry Sanfino Sax (Alto)
John Blain Hunt Drums
Johnny Board Sax (Tenor)
Kai Winding Trombone
Kerosene Halo Design, Art Direction
Kevin Reeves Mastering
Leo Shepherd Trumpet
Lionel Hampton Vibraphone
Lionel Hampton & His Orchestra Performer
Lionel Hampton and His Orchestra Performer
Little Jimmy Scott Photo Courtesy, Performer
Lonnie Shaw Sax (Baritone)
Lucky Thompson Sax (Tenor)
Orrin Keepnews Compilation Producer
Paul Lee Trombone
Peck Morrison Bass
Roy Hamlin Johnson Bass
Steve Backer A&R Assistance
Taft Jordan Trumpet
Tyree Glenn Trombone
Wes Montgomery Guitar
One could write a book about all the abuse Jimmy Scott suffered over the years. From being ridiculed and mocked because of his effeminate qualities to being neglected by labels for much of his career, the singer has often had it rough. But Scott is a survivor who never lost his talent or his charisma -- he was a compelling singer in his youth, and he was still compelling when he was in his early 70s. Everybody's Somebody's Fool, a 1999 release, takes us back to Scott's 20s (when he was still known as Little Jimmy Scott) and focuses on his work with the big bands of Lionel Hampton, Billy Taylor and Lucky Thompson at Decca from 1950-52. Subsequently, he would become a victim of bad A&R and bad marketing at other labels, but this CD demonstrates that the early '50s were a highly creative period for him. Heavily influenced by Billie Holiday, Scott pours a tremendous amount of soul and feeling into Duke Ellington's "Solitude," "Wheel of Fortune," "I Wish I Knew" and the title song (which shouldn't be confused with the Connie Francis hit). But as strong as Holiday's influence is, it's also clear that Scott was quite unique and distinctive himself. One of the things that made him unique was the fact that he sounded like he could be a woman -- and ironically, something that worked to his advantage creatively resulted in a lot of cruelty off stage. Jazz singing doesn't get much more convincing or personal than what you'll find on this superb collection. ~ Alex Henderson, All Music Guide |
