Jimmy Scott (born July 17, 1925), aka "Little" Jimmy Scott, is an American jazz vocalist.
Scott has Kallmann's syndrome, a genetic condition. The condition stunted his growth at four feet eleven inches until, at age 37, he grew another 8 inches to the height of five foot seven inches. The condition prevented him from reaching puberty, leaving him with a high, undeveloped voice in the contralto range, hence his nickname "Little" Jimmy Scott.(Wiki)
Starkly printed in black and white with washed-out, grainy photographs, this is one heavy slab of blues by a player who is not as well-known as he should be. Guitarist Jimmy Rogers was usually overshadowed by the leaders he worked for, Muddy Waters particularly. He was also sometimes confused with the hillbilly singer Jimmie Rodgers, and although they might have sounded good together, they don't have anything in common. This reissue collection grabs 14 tracks done at various times in the mostly early '50s which involve practically a who's who of performers associated with the most intense and driving Chicago blues. This includes the aforementioned Waters, leaving behind his role as leader for a few numbers to add some stinging guitar parts. There is also a pair of harmonica players, each of whom could melt vinyl siding with their playing. These are the Walters, big and little, as in Big Walter Horton and Little Walter. Pianist Otis Spann, bassist Willie Dixon, and drummer Fred Belew are also on hand, meaning the rhythm section action is first class.
Why aren't there more recordings like Fly Away Little Bird? Perhaps it's because there aren't more musicians of this stature. The studio reunion of the legendarily experimental Jimmy Giuffre 3 in 1992 was reissued in 2002 on the French Sunnyside label and is a radical departure from anything the trio had done in the past. These studio apparitions of the band are their most seamlessly accessible while being wildly exploratory. In addition to the consummate improvisations and compositions by Giuffre (title track, a redone "Tumbleweed"), the tender meditations by Steve Swallow ("Fits" and "Starts"), and the bottom-register contrapuntal improves by Paul Bley ("Qualude"), this is a trio recording that uses standards such as "Lover Man," a radically and gorgeously reworked "I Can't Get Started," "Sweet and Lovely," and "All the Things You Are" to state hidden textural possibilities inside chromatic harmony. There is never the notion of restraint in the slow, easy, and proactive way these compositions are approached.
"That'll Flat… Git It!" is one of the best compilations of the 1950's rockabilly. Each volume contains nearly 30 songs, mostly rockabilly classics and unknown great artists.
In spite the tracks were remastered, you can hear some noise, especially in the end of the tracks. This is because many songs were taken from original vinyl singles.
The Melodians came to be in 1965, during a crossroads for the music of Jamaica as ska was popular and slowly turning into rock steady, which would eventually lead to what is now known as reggae. They were a three man vocal group with the kind of harmonies that were popular in Jamaica at the time, harmonies also shared by the original Wailers and The Maytals.
This CD, originally released by Trojan in 1997 and reissued through Sanctuary via BMG, features many of their hits, most of which were only available as long out-of-print 45 rpm single. The majority of those early sides were mixed in mono, one reason for this torrent being small in size, despite it being packed with 26 songs. Internationally, the Melodians name may not be a household name, but for thousands of reggae fans around the world, they represent a wonderful time in Jamaica's rich musical history.