« J’aime toutes les formes de la musique et je prétends qu’il peut même y avoir quelque chose à glaner dans un genre aussi pourri que le hillbilly, par exemple »
Cannonball Adderley, Interview de François Postif, Jazz Hot, n°184, fév 63

Cannonball Adderley n’aime pas tellement le hillbilly, mais il aime ses confrères saxophonistes et il le fait savoir à François Postif, dans une interview de 1963.

Il cite quatre saxophonistes : les trois premiers ont quelques chances d’évoquer quelque chose à l’amateur de jazz / collectionneur / étudiant de musicologie / fanboy / cratedigger que vous êtes.
Le quatrième nom est peut-être un peu plus obscur. Mais qui est donc ce Clifford Scott ?

« pour en revenir à King Curtis, c’est pour moi le plus grand de tous les ténors de rhythm and blues et c’est, en plus, un véritable chef de file. Personnellement, j’adore tout ce qu’il fait – c’est sans aucun doute le roi de sa spécialité, avec ce jeune homme qui joue du ténor sur la côté ouest, Plas Johnson. Inutile de vous cacher que j’aime aussi beaucoup Willis Jackson, qui est l’un de mes meilleurs amis et avec lequel mon contrebassiste Sam Jones a joué à Miami. Et aussi Clifford Scott : c’était l’un de mes ténors favoris dans Honky Tonk avec l’orchestre de Bill Doggett. C’est l’un des rares saxophonistes ténor qui ait eu une certaine influence. »
Cannonball Adderley, Interview de François Postif, Jazz Hot, n°184, fév 63

 

 

Clifford Scott

21 juin 1928, San Antonio (Texas) – 19 avril 1993, San Antonio (Texas)

Clifford Scott est né en 1928 à San Antonio, Texas. Il y fait ses débuts au Keyhole Club en 1946 et est découvert par Lionel Hampton qui l’intègre à son groupe en 1948-50. Il partage sa carrière entre les groupes de rhythm and Blues de Roy Milton et Jay McShann, ceux de Lionel Hampton – qu’il rejoint de nouveau en 1953 (en bonne compagnie : le groupe de Lionel Hampton de l’époque compte dans ses rangs Clifford Brown, Quincy Jones et Jimmy Cleveland -, de Bill Doggett (1955-61). Comme de nombreux musiciens, il rejoint Los angeles au début des années 60 où il prend part à de nombreuses sessions d’enregistrement (souvent sous le pseudonyme de Joe Splink) et intègre le trio du batteur Wayne Robinson. Il participe à quelques tournées de Ray Charles entre 1966 et 1973. En 1976, il revient s’installer à San Antonio où il restera jusqu’à sa mort en 1993.

Il a enregistré plusieurs très très bons albums à son nom pour King and Pacific Jazz, mais qui ont eu un succès assez modeste. La plupart d’entre-eux n’a même pas été rééditée en cds.

 


 

Bill Doggett – Honky Tonk
King, 1956

Honky Tonk est un morceau de rhythm and blues instrumental, écrit par Bill Doggett, Billy Butler, Clifford Scott et Shep Shepherd, un tube de l’année 1956 (trois semaines n°2 au Billboard pop charts, treize semaines n°1 des charts R&B single). C’est devenu un standard du répertoire rock and roll, R&B, repris par à peu près tout le monde, de Buddy Holly à James Brown en passant par les Beach Boys et Bill Haley.

« Honky Tonk » was conceived by Clifford Scott and Billy Butler (who played guitar in Doggett’s combo) in an informal hotel room jam session before a dance in Lima, Ohio. That night, on stage and without rehearsal, Butler told Bill Doggett and drummer Shep Shepherd to « just play a shuffle » and when they got through the people started to applaud. They wouldn’t get off the dance floor, they just continued to stand there and appalud « more, more, more.. ». So they did it again, played some other tunes and had an intermission, and when they came back the audience started yelling « We wanna hear that tune! ». And they didn’t even have a name for it. When the band got back to New York, they set up a recording session with a studio down on 31st Street. The engineer turned the machine on, he goes out to take a smoke – he wasn’t regulating the controls, he wasn’t doing anything – and Doggett’s band went on and just played. When they started to stop, he said « Keep it up! », which they did and that’s how it became a two-sided record. « Honky Tonk », parts 1 & 2, went to # 2 on the pop charts and # 1 on the R&B charts in 1956. (John Broven’s sleeve notes for the CD « Honky Tonk! » – Ace 761)

Bill_Doggett_-_Honky_Tonk_Part_1 (3)

Bill Doggett – Honky Tonk
King, 1956
tracklist
A Honky Tonk (Part 1)
B Honky Tonk (Part 2)
Credits
Written-By – Doggett, Butler, Scott, Shepard
Guitar: Billy Butler
Tenor Saxophone: Clifford Scott

 


 

Lionel Hampton – A Memorable Session
Vogue Records, 1953

Lionel Hampton – Real Crazy

Lionel Hampton - A Memorable Sessio500 (2)Lionel Hampton – A Memorable Session
Vogue Records, 1953
tracklist
A1 Real Crazy – Written By – Lionel Hampton
A2 I Only Have Eyes For You – Written By – Harry Warren
A3 Walking At The Trocadero – Written By – Lionel Hampton
B1 Always – Written By – Irving Berlin
B2 Free Press Oui – Written By – Lionel Hampton
Bass [Electric] – William Montgomery
Clarinet – Milton « Mezz » Mezzrow
Drums – Curley Hammer
Ensemble – Lionel Hampton And His Paris All Stars
Guitar – Billy Mackell
Liner Notes – Hugues Panassié
Photography By – Hervé Derrien
Piano – Claude Bolling, Lionel Hampton (tracks: A3)
Tenor Saxophone – Alix Combelle, Clifford Scott
Trombone – Al Hayse, James Cleveland
Trumpet – Walter Williams
Vibraphone – Lionel Hampton
Notes
Paris, France, September 28, 1953

 

 

 

 

 


 

Clifford Scott – Out Front!
Pacific Jazz Records – PJ-66, 1963

Clifford Scott – Samba De Bamba

Out Front est le premier disque au nom de Clifford Scott. Il s’y exprime à l’alto et au ténor en compagnie d’une rythmique superlative : Les McCann, Joe Pass, Herbie Lewis, Paul Humphrey.

Ce disque n’a pas été réédité en cd !!

“For many years, the field of Rhythm and Blues has played the part of a musical farm system to the field of Jazz. Hungry, young musicians who find it tough getting jobs in jazz will go on the road with an R&B group for bread and experience. Fans who have followed both mediums may remember the times when Benny Golson was with Earl Bostic, Tadd Dameron with Bullmoose Jackson or Johnny Griffin and Mathew Gee in the old Joe Morris outfit. Recently, the idioms have become more closely knit. The advent of « Soul Jazz » has provided the opportunity for men like Willis Jackson, Jimmy Forrest and Clifford Scott to record and play in person more of a jazz repertoire. To most listeners, it is no longer important what you call the music as long as there is a good groove to it.

Clifford Scott is the featured saxophonist here and as soon as your needle touches the record, it will become evident that he is not a routine honker. Clifford has paid his share of R&B dues with Roy Brown, Roy Milton and Bill Doggett but this has not dimmed his fire and enthusiasm for jazz improvisations.”
Bob Porter, Out Front liner notes (extraits)

Clifford Scott_OutFrontL (3)Clifford Scott – Out Front!
Pacific Jazz Records – PJ-66, 1963
tracklist
A1 Samba De Bamba
A2 Over And Over
A3 As Rosie And Ellen Dance
A4 Cross Talk
B1 Why Don’t You Do Right
B2 Just Tomorrow
B3 Out Front
Credits
Bass – Herbie Lewis
Drums – Paul Humphrey
Guitar – Joe Pass
Liner Notes – Bob Porter
Photography By, Cover – Woody Woodward
Piano – Les McCann
Producer – Richard Bock
Tenor Saxophone, Alto Saxophone – Clifford Scott
Recorded at Pacific Jazz Studios, Hollywood, California.

 

 

 

 

 

 


 

Clifford Scott & Hideaway All Stars, The – The Big Ones
World Pacific – 1811, 1963

Clifford Scott & the Hideaway All Stars – Sack O’ Woe

Clifford Scott & Hideaway All Stars - The Big Ones (3)
Clifford Scott & Hideaway All Stars, The – The Big Ones
World Pacific – 1811, 1963
tracklist
A1 Tweedle Dee – Composed By – W. Scott – 2:30
A2 Why I Was Born – Composed By – Hammerstein-Kern – 2:18
A3 Sack O’ Woe – Composed By – Julian Adderley – 2:18
A4 Time On My Hands – Composed By – Harold Adamson, Mack Gordon, Vincent Youmans – 3:10
A5 So Rare – Composed By – Jack Sharpe, Jerry Herst – 3:02
A6 You Came A Long Way From St. Lous – Composed By – Bob Russell, John Benson Brooks – 2:16
B1 Secret Love – Composed By – Paul Francis Webster, Sammy Fain – 2:45
B2 Teardrops From My Eyes – Composed By – Rudolph Toombs – 2:20
B3 I Will Follow You – Composed By – Arthur Altman, Del Roma, J.W. Stole, Jacques Plante, Norman Gimbel – 2:07
B4 Down Blues – Composed By – Clifford Scott – 2:40
B5 One Mint Julip – Composed By – Rudolph Toombs – 2:45
B6 My Babe – Composed By – Willie Dixon – 2:59
Credits
Alto Saxophone – Clifford Scott
Drums – Wayne Robinson
Organ – Bert Hendrix
Tenor Saxophone – Clifford Scott

 

 

 


 

Clifford Scott – Lavender Sax
Pacific Jazz Records – ST-1825, 1964

Clifford Scott – Shangri-La

Clifford Scott - Lavender Sax2 (3)
Clifford Scott – Lavender Sax
Pacific Jazz Records – ST-1825, 1964
tracklist
A1 Lavender Sax 3:51
A2 Shangri La 3:15
A3 My Biggest Cry 3:01
A4 Summertime 3:32
A5 True Blue Lou 2:35
B1 I Wish You Love 2:25
B2 Laura 2:49
B3 Moonlight On Ebony 2:40
B4 Ebb Tide 2:45
B5 Day Dream 2:45
credits
Bass – Leroy Vinnegar
Drums – Wayne Robinson
Guitar – Carol Kaye
Organ – Charles Kynard, Perry Blackwell
Tenor Saxophone, Alto Saxophone, Baritone Saxophone – Clifford Scott
Vibraphone – Emil Richards
Notes
« 1825 » on cover/spine. « ST-1825″ on labels.

 

 

 

 

 

 


 

Clifford Scott – Broadway Caravan
King Records – 45-5836, 1964

Clifford Scott – Broadway Caravan / Tossed Salad

Clifford Scott – Broadway Caravan
King Records – 45-5836, 1964
tracklist
A Broadway Caravan – Written-By – Clifford Scott – 2:33
B Tossed Salad – Written-By – Clifford Scott – Organ: Hank Marr

 


 

Billy Larkin And The Delegates Featuring Clifford Scott – Blue Lights
Aura Records – ARS 23003, 1965

Clifford Scott en organ combo, celui de Billy Larkin

Billy Larkin And The Delegates – Blue Lights

Billy Larkin And The Delegates Featuring Clifford Scott _Blue Lights (3)
Billy Larkin And The Delegates Featuring Clifford Scott – Blue Lights
Aura Records – ARS 23003, 1965
tracklist
A1 Little Jr. Detroit – Written-By – B. Larkin, C. Scott, H. Swarn, M. Brown – 2:27
A2 Charade – Written-By – H. Mancini, J. Mercer – 5:15
A3 QuintessenceWritten-By – Quincy Jones – 3:08
A4 Sticky WicketWritten-By – B. Larkin, C. Scott, H. Swarn, M. Brown – 4:15
A5 Transfusion – Written-By – Charles Lloyd – 3:45
B1 The Cooker – Written-By – B. Larkin, H. Swarn, M. Brown – 2:40
B2 Dallas Blues – Written-By – Onzy Mathews – 2:48
B3 Blues For Dinner – Written-By – B. Larkin, H. Swarn, M. Brown – 5:35
B4 Killer Joe – Written-By – Benny Golson – 3:40
B5 Blue Lights – Written-By – Gigi Gryce – 5:46
credits
Design [Cover], Photography By – Woody Woodward
Drums – Mel Brown
Guitar – Hank Swarn
Liner Notes – Les Carter
Organ – Billy Larkin
Producer – Les Carter, Richard Bock
Tenor Saxophone, Alto Saxophone, Flute – Clifford Scott

 

 

 


 

Jimmy Witherspoon – Evenin’ Blues
Stateside – 10088, 1964

Jimmy Witherspoon – Money’s Gettin’ Cheaper

 

Une piste sans Clifford, mais qui vaut son pesant de m&m’s :
Jimmy Witherspoon – Evenin’

Jimmy Witherspoon - Evenin' Blues (3)
Jimmy Witherspoon – Evenin’ Blues
Stateside – 10088, 1964
tracklist
A1 Money’s Gettin’ Cheaper
A2 Grab Me A Freight
A3 Don’t Let Go
A4 I’ve Been Treated Wrong
A5 Evenin’
B1 Cane River
B2 Baby How Long
B3 Good Rockin’ Tonight
B4 Kansas City
B5 Drinking Beer
credits
Bass – Clarence Jones
Drums – Wayne Robertson
Guitar – T-Bone Walker
Organ – Bert Kendrix
Tenor Saxophone – Clifford Scott

 

 

 

 

 

 


 

Clifford Scott – Twistez Avec L’extraordinaire
Odeon – SOE 3680, 1962

Suivez donc les conseils de ce disque Odeon : “Twistez Avec L’extraordinaire Clifford Scott!”

Clifford Scott - Twistez Avec L'extraordinaire (3)Clifford Scott – Twistez Avec L’extraordinaire
Odeon – SOE 3680, 1962
tracklist
A1 Skitchy
A2 Fros – Tee – Nite
B1 Blue Lady
B2 Bushy – Tail
credits
Acoustic Bass – Bill Willis
Drums – Phillip Paul
Guitar – Fred Jordan
Organ – Hank Marr
Piano – Charles Brown
Tenor Saxophone – Clifford Scott
Notes
Originally recorded by King Records in Cinci