CMJ - 4/16/01, p.23
"...His performances are uniformly strong on this ballad-heavy set, as Scott belts out htese tunes with his inimitable reedy voice and behind-the-beat phrasing..."
Down Beat - 8/01, p.753 stars out of 5
- "...A reminder that he remains an exceptional jazz interpreter....He delivers the goods with a voice that swings from conversational to bravura..."
JazzTimes - 6/01, p.147
"...On this spell-binding disc, Scott's soulful, expressive style gives new luster to 12 standards....a treasure..."
Personnel: Jimmy Scott (vocals); Justin Robinson (alto saxophone); Bob Kindred, David "Fathead" Newman (tenor saxophone); Gregoire Maret (harmonica); Joe Locke (vibraphone); Larry Willis, Michael Kanan (piano); Joe Beck (acoustic, electric & alto guitars); George Mraz (bass); Grady Tate, Clarence Penn (drums).
Recorded at The Studio, New York, New York in October & November 2000. Includes liner notes by David Ritz.
Personnel: Little Jimmy Scott (vocals); Joe Beck (guitar, acoustic guitar, electric guitar); Gr‚goire Maret (harmonica); Justin Robinson (alto saxophone); David "Fathead" Newman , Bob Kindred (tenor saxophone); Larry Willis, Michael Kanan (piano); Joe Locke (vibraphone); George Mraz (acoustic bass); Clarence Penn, Grady Tate (drums).
Audio Mixer: Michael Semanick.
Liner Note Author: David Ritz.
Recording information: The Studio, New York, NY (10/2000-11/2000).
Photographer: John Abbott .
Arrangers: Little Jimmy Scott; Joe Beck ; Larry Willis; Michael Kanan; Robert Sadin.
There have been few 75-year-old vocalists working in any popular music style that sounded as good as Scott did on this session from late 2000, aided by contributions from top players like Joe Beck (guitar) and Grady Tate (drums). Scott loves those sentimental songs, and this set is full of standards in that vein, from the title track and "Pennies From Heaven" to "P.S. I Love You" (the Jenkins-Mercer composition, not the Beatles song) and "I Got It Bad (And That Ain't Good)." For the most part the arrangements are appropriately small-scale, letting Scott's voice hog the foreground and squeeze plenty of nuances from his sad vibrato. "Over the Rainbow" itself suffers from an excessive wash of vibes, but fortunately that's not typical of most of the set, which just does toe the right side of gushing emotion. It is a refreshing change of pace, though, when a trace of somber darkness is introduced on the foreboding, doomy arrangement of "Strange Fruit," which benefits from a guest shot by David "Fathead" Newman on tenor sax. ~ Richie Unterberger