Tim Warfield: One For Shirley

Jimmy Smith and Larry Young have continually set the benchmark for creative endeavors involving jazz and the Hammond B-3 organ, Smith being acknowledged for bringing the technical virtuosity of be-bop to the instrument and Young for expanding the vernacular based on the forward-thinking implications of John Coltrane. Somewhere in between these two, a colorful range of styles proliferated throughout the '50s and '60s, from the cocktail jazz of Milt Buckner to the soulful grooves of Big John Patton. But it wasn't just the guys who got into the act; such classy ladies as Gloria Coleman, Trudy Pitts, and Shirley Scott have also graced us. While the former two artists continue to bring the message of the B-3 to old fans and new audiences alike, Scott left us in 2002. Nonetheless, her sophisticated and elegant approach to an instrument that could be unwieldy and overbearing in the wrong hands can be heard on almost 50 of her own albums recorded for a variety of labels.

It was Scott's generosity as torch bearer and mentor that made a mark on many of today's musicians including Tim Warfield, who has decided to pay homage with a disc that lives in the spirit of Scott's legacy. Somewhat of a departure from his previous sides for Criss Cross, the most recent being 2002's Jazz Is... (Criss 1227), Warfield leads an organ combo of old and new friends on a program that pays respect, but also speaks with a singular voice that has marked Warfield as one of the most distinctive saxophonists of his generation.

Discussing the genesis for this project, Warfield proudly states, "Ms. Shirley Scott was a caring mentor and a great friend to me. As well as having the opportunity to perform with her on a regular basis, I consider it a great honor to be the last in a lineage of tenor players to perform or record with her that includes such greats as Coleman Hawkins, Buddy Tate, Stanley Turrentine, John Coltrane, Yusef Lateef, Arnett Cobb, George Coleman, and Eddie "Lockjaw" Davis." For the record, Warfield and trumpeter Terell Stafford can be heard for prosperity on Scott's A Walkin Thing from 1992, one of her final few recordings.

Further delving into the beginnings of his musical relationship with the organist, Warfield says, "I met Shirley as a result of a dare from my father who challenged me in my earlier years to try and get some work in some other areas, so I went to Ortlieb's Jazzhaus in Philadelphia where former owner and tenor player Pete Souders ran a jam session on Tuesdays. I sat in hoping to get a gig and Pete thanked me graciously for my attendance, but informed me that his allegiance was first to the local musicians of Philadelphia. 'But let me take your info 'cause you never know,' he told me."

"A couple of weeks later," Tim goes on to explain, "I received an unexpected phone call from Mr. Souders who had a last minute cancellation. He wanted to know if I was available to sub for another great Philadelphia legend, tenor saxophonist Robert "Bootsie" Barnes. I told him I was available and thanked him. I had no idea that the rhythm section that weekend would consist of three legends-Shirley Scott on piano, Arthur Harper on bass, and Mickey Roker on drums. To say that the gig was swinging would be an understatement. In the beginning I was a bit nervous, but once we ended the first set, Shirley looked at me with a side glance, gave me her typical guttural laugh, and exclaimed, 'Yeah, Tim!' Then, with a more serious face, she said almost with scrutiny, 'You sure you ain't been here before?' I considered this a compliment of the highest degree equating one to 'old souls.'"

"That gig was the beginning of a great musical relationship and even more importantly a friendship that lasted a little over a decade until her passing," says Warfield. "Shirley had a way of giving you musical clarity through unspoken guidance. The experience I acquired under her tutelage became a conceptual musical centering for me for which I'm very grateful."

In assembling the project at hand, Warfield made a very conscious effort to present something that would go beyond the norm. "I didn't want this to be just another tribute recording consisting of several all-stars that have no real connection to the artist in tribute," he explains. "Therefore, I chose musicians of a kindred spirit." Warfield talks of the "effervescently golden" trumpet tones of Terell Stafford, with whom he shared the front line on A Whisper in the Midnight (Criss 1122) and who is obviously comfortable in the organ combo format thanks to his current work in Matt Wilson's Arts and Crafts.

Also no stranger to this type of ensemble due to his lengthy association with Joey DeFrancesco, Philadelphia native Byron Landham had worked with Scott on occasion and should be familiar to Criss Cross followers via his work with pianist Orrin Evans and trumpeter John Swana. Warfield speaks fondly of the drummer, calling him "understated, yet infectiously swinging." Opting for a format that more closely recalls his work with Scott, the saxophonist dispensed with the usual guitar and added a further layer of complexity by including the percussive embellishments of Daniel G. Sadownick. "Though only on three tracks," states Warfield, "Danny's openness, strong editing sense, and musical versatility were integral to the sound of this recording."

It goes without saying that filling the organ chair would not be something taken lightly in order for this tribute to meet with success. And although he's far from being a household name, Denver-based Pat Bianchi demonstrates a strong sense of personal identity that bodes well for his continued success. Able to look to the future while still honoring the tradition, it should come as no surprise that one of Bianchi's current endeavors is The Unity Project, a group he co-leads with drummer Ralph Peterson dedicated to the innovations of Larry Young. "Known for being deeply rooted in the jazz tradition but not necessarily relegated to just one bag, Pat was the logical choice," confirms Warfield. "His technique is impeccable, his comping is great, and he can swing at any tempo."

Cherry-picking just the right pieces for the set, Warfield says, "The material chosen for this recording is either music that I have performed with Shirley, songs introduced to me by her, her original compositions, or original compositions that I've written with her in mind. Many of the arrangements somehow involve musical lessons learned while under her mentorship."

Warfield uses Duke Pearson's "Cristo Redentor" as an opening prelude that segues into "Calvary." One can almost visualize the spinning action of Bianchi's Leslie speaker as he sets in motion a cascade of sound brought to culmination by Landham's thundering tom-toms. Soon, the ominous mood is replaced by a swinging 4/4 that boldly casts a sunnier outlook. As Tim explains, "One of the dictionary definitions of Calvary is 'any experience that causes intense suffering.' It is also a Negro spiritual equating to the soul that Terell and I quite often performed with Shirley."

Scott's own "Oasis" first appeared on the organist's Muse album of the same name from 1989, subsequently recorded two years later in a live version on Blues Everywhere. "Although the melody on the original recording was played in 6/8, I reharmonized the original to a slow Latin groove," says Tim. A statement from Warfield on tenor, is followed by further solos from Stafford and Bianchi.

"Lullaby for Nijee" is a Warfield original with a gentle waltz feeling, its 48-bar structure based on three sections of 16 bars each. "In earlier years, Shirley showed quite a fondness towards my little nephew Nijee, who is now 16. In almost every conversation until her passing, she would ask me how he was doing," Tim explains. "The A section of the song is an actual melody I used to hum to him as a baby. I added a bridge to complete the tune. Unfortunately, I never had the opportunity to perform this song with Shirley." Bianchi kicks off the solo order this time, followed by Stafford and Warfield.

Although a fundamental tune of somewhat modest nature, "The Beat Goes On" has found a life beyond Sonny and Cher's hit single that includes jazz versions by Gabor Szabo, Herbie Mann, and the big band of Buddy Rich. Most recently, it has even provided fodder for singer and pianist Patricia Barber. Warfield is heard on soprano and the group engenders a soulful outlook not unlike that of Lou Donaldson's classic "Alligator Bogaloo." In addition to solos from our lead voices, there's also a first-class conga statement from Sadownick, who utilizes both melodic and rhythmic diversity in telling his story.

"Stompin' at the Savoy" must have been one of Scott's favorites, as it can be found on two of her records, the Prestige set Stompin' and the later Impulse release Roll 'Em: Shirley Scott Plays the Big Bands. The organist directly inspired a subtle tweaking of the main theme. Warfield states, "The orchestrated counterpoint in the rhythm section is musical dialog we would hear amongst Shirley, [bassist] Arthur Harper, and [drummer] Mickey Roker on many occasions." Solos are in the offing for all on hand, including Landham.

Warfield calls "Make It Last" a "relatively obscure standard" that he uses as a ballad feature. "Shirley was always introducing us to new songs off the beaten path. She would encourage us to be different and explained that we should not just relegate ourselves to the familiar, as there are so many great popular standards yet to be truly explored."

As we round third heading towards home, Warfield introduces three of his own compositions. "Sometimes You Got To Let The People Know" got its title "from actual words Shirley used to say to me, particularly in times of adversity," the saxophonist explains. "Tokyo Girl" features Tim again on soprano for a line that sports an undulating groove with an Eastern flair. "The compositional idea is slightly different in approach and rather tribal, but ultimately it's just a blues." "One For Shirley" then comes on strong, with Warfield and Stafford trading lines on this efficient swinger. "This is one we used to perform together at Ortlieb's Jazzhaus in Philly, although at a much slower tempo," says Tim.

"On any given weekend while walking down North Third Street, one could hear "Yours Is My Heart Alone" faintly outside Ortleib's, as it was one of Shirley's favorite songs to perform." In fact, the organist finally got around to recording it in 1991 for her Muse album Great Scott!. Warfield and crew find similar inspiration in this chestnut, thus bringing to a close the latest chapter in the saxophonist's quest to bring something new to the jazz heritage.

"I was taught that jazz is supposed to be rooted in the tradition and then it's your job to take it beyond the technical expertise of the whole idea and hopefully come up with something that's art. No one talks about this music like it's an art form anymore. They always want to talk about how someone displayed technique to do such and such, but I'm really interested in what music makes people feel. We can all play something that's going to make folks say 'Wow, that was amazing!' The question is do we make anybody cry or do we make somebody want to change his or her life? That's really what I'm trying to get to."

Liner Notes copyright © 2024 C. Andrew Hovan.

One For Shirley can be purchased here.

Contact C. Andrew Hovan at All About Jazz.
An avid audiophile and music collector, Chris Hovan is a Cleveland-based writer / photographer / musician.

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