Customer Reviews

Latin Shadows

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My own approach to this album is from the Gary McFarland perspective. McFarland was an arranger, vibe player, and producer who operated for about a decade until his life was cut tragically short. He is the arranger (and one of the musicians) on this album.

This album is best seen as a collaboration between Scott and McFarland. As such, it bears the hallmarks of McFarland's sound. His sound at this time was particularly reflective of the bossa nova and latin sounds that rose to prominence in the early-to-mid '60s. Latin Shadows is an excellent and successful example of McFarland's work, with the lovely Ms. Scott starring as the featured soloist.

Scott is no less a featured player than she would be on any other of her albums. If her playing seems more restrained, it may be because that is what the music and arragements require. This is not something to "blame" McFarland for, the quality of the music is quite good. You wouldn't blame the Mizells for Black Byrd, would you? Producers and arrangers are instrumental in determining the direction and sound of studio jazz records, and the successful realization of an album doesn't always ---if ever--- rest wholly upon the featured player. Directors and actors work together to produce a film that works, and each colors the others' performance.

Awash with strings, vibraharp, and latin percussion, Latin Shadows moves uptown from the gritty downhome flavor usually associated with Ms. Scott and her contemporaries on the Hammond B-3. More morning after than night before. Blame, or credit, producer Bob Thiele and arranger/conductor Gary McFarland. Most memorable of Ms. Scott's work is her vocals on "Soul Sauce," composition "Noche Azul," and organ on Henry Mancini's "Dreamsville." This CD would be enjoyed by devotees of Creed Taylor's CTI productions in the seventies and later smooth jazz formats. Still, organ students in dozens of university jazz programs could have filled in Ms. Scott's parts without missing a beat.