I recently discovered Ms. Scott’s music, which was long overdue. So I’m diving into why she turned my ears. Shirley is the first musician featured in my blog series, A Celebration of Women in Music. Let’s dig deep into the life and music of Shirley Scott.

What Should You Know About Shirley Scott?

Shirley Scott first played piano sitting on her mother’s lap around age 3. She started piano lessons at age 8. When it came time to study piano after high school, the college programs were already packed with good piano players. Instead, she took up trumpet as a second instrument. 

Scott continued playing piano at her father’s club. As the Hammond B-3 organ sound became a hit in the early 1950s - thanks to Jimmy Smith - folks encouraged Scott to take up the popular instrument.  

She played organ for 5 months in the Hi-Tones; a quartet that included John Coltrane. Then, in 1953, horn player and band leader Eddie “Lockjaw” Davis abruptly lost his organ player, Doc Bagby. Scott was recommended. Here’s her take on the situation: 

Lockjaw’s desperation quickly turned to elation.

The band – including Scott – would soon record The Eddie Davis Cookbook. The album’s popularity put the well-deserved spotlight on Scott. 

Shirley Scott went on to record more than 50 albums under her own name. She later earned her bachelor’s and master’s degrees from Cheyney University, the nation’s first Historically Black College and University (HBCU) founded in 1837.

She would eventually become a music professor at Cheyney and later earned a fellowship from the National Endowment for the Arts (NEA) to transcribe the music of legendary tenor saxophonist, Dexter Gordon.

Scott died on March 10, 2002 in Philadelphia, four days shy of her 68th birthday. 

Two of Scott’s last proteges and bandmates, Tim Warfield and Terell Stafford, honor their mentor in this short NPR documentary: 

You can also hear Ms. Scott play and talk about her career with piano peer, Marian McPartland, during this June 1992 interview and performance on McPartland’s Piano Jazz radio program:

How Did I Discover Shirley Scott? 

I’m a huge fan of the Hammond B3 organ sound. Jimmy Smith. Jimmy McGriff. Brother Jack McDuff. Richard “Groove” Holmes. Booker T. Jones. Delvon Lamarr. Cory Henry. Chris Foreman. Joey DeFrancesco. Even the great Fats Waller and Count Basie both played organ in addition to piano. 

I often watch clips of these organ players on YouTube. Luckily, the social media platform’s algorithm fed me this live performance of Ms. Scott:

That video was all it took to dig deep into Scott’s catalog, which is more like the complete encyclopedia series of “How to Groove on Organ”. Shirley swings like mad! I’m an instant fan. 

Why Am I Featuring Shirley Scott?

I’m ashamed to admit it. But I went too many years listening to too many organ players. Not one of them was Shirley Scott. Until now. It’s sacrilegious as a self-proclaimed music junkie. I plead guilty, Saint Shirley. Please forgive me.

So I want to pay my respects and help others discover why I think Ms. Scott’s music is so great. Here are four reasons: 

1. Her Musical Prowess is Four-Part Perfection.

To be prolific on the Hammond B3 organ, Ms. Scott was these four talented musicians rolled into one…at the same time.

Saint Shirley, The Piano Player.
It may seem obvious, but it’s true. She navigated both hands up and down fully-weighted piano keys. That strength and speed naturally prepared her for fluid motion on feather-light organ keys. Throw in the fact that she multi-tasked between many levers and buttons, while floating effortlessly from the top level of keys to the bottom level of keys. Phew, Saint Shirley.

Saint Shirley, The Bass Player.
This is a critical role in any band that takes constant focus and perfect timing. In the case of Shirley’s organ playing, oftentimes, her left hand WAS the bass player. That hand was constantly in motion - in unwavering time - holding down the bass line in lock and step with the chord changes, melody, and rhythm played with the right hand. How in the heck does anyone keep the bass line steady on an organ using just one left hand and five fingers? Saint Shirley could.

Saint Shirley, The Drummer.
In music, rhythm is king. Starting it. Stopping it. Swinging it. Syncopating it. Embellishing it. And most importantly? Keeping it. Drummers pour their entire beings into keeping time. Saint Scott doubled as a drummer on the organ. Her grooves swing so hard. Her timing is impeccable. Her cadence is spot on. After all, Scott’s first love - the piano - is also considered a percussive instrument. Hit it, Saint Shirley!

Saint Shirley, The Instrumentalist.
Ms. Scott may have turned to the two-handed trumpet when her school teemed with talented piano players. Though there’s no doubt she could’ve taken up any instrument and still would’ve discovered familiar melodies, endless phrasing, and mindful dynamics she mastered with just one hand on the right side of the organ.

Let’s just say she could’ve been her own four-piece band. The Saint Shirley Solo Quartet, if you will.

No wonder I have yet to hear anyone on organ play and sing at once. If you know of someone, please fill me in.

2. Her Legacy is Vast.

Scott recorded more than 50 albums under her own name. In fact, Scott released at least one of her own albums - with her own band - every year from 1958 through 1974. 16 consecutive years. Unreal. 

If you want the full view of her catalog, Ms. Scott’s unofficial discography covers every session she recorded from 1949 through 1997.

3. Her Stature Defies Gender.

Scott was often called the “Queen of the Organ.” She definitely earned it. Though that moniker limits her stance among all the legendary organ players, regardless of gender.

Scott grooves as much as Richard “Groove” Holmes.

She swings as hard as Count Basie.

She’s as inventive as Jimmy Smith.

But at the same time, she’s incomparable.

Queen of the Organ? Absolutely. But her seat among organ royalty is all her own. 

4. Her Bravery was Constant Humility.

Let’s take a trip in a time machine, shall we?

It’s 1955. Imagine you’re Shirley Scott.

You walk into a rehearsal space cold turkey. You’re the newbie. The rookie in the group. Your palms are sweaty – the very palms you’ll need to nail your tryout on organ. Your heart is racing – the very organ you’ll need to keep steady alongside the organ you’re about to play. You know the instrument well, but the band doesn’t know you at all.

Skeptical eyes cross your face.

Your potential boss, Eddie “Lockjaw” Davis, paces the floor still bent out of shape after abruptly losing his band’s beloved organ player. You’re expected to nail this first-time rehearsal and fill those big shoes at the big show the next night.

You swing like mad. Jaws drop instead of lock. You made the cut.

The next night - gig night - is here. You walk in the venue and make your way to the stage. It’s a smoky, dim-lit club full of short, round tables packed with regulars eager to hear one of their favorite jazz combos.

Remember, it’s 1955.

The audience expects someone else approaching the organ. A man. You sit down instead. You’re a woman. A Black woman they’ve never heard of or heard. The band starts to play.

Skeptical eyes cross your face.

You swing like mad. All night long. The audience loves it. Lockjaw is happy.

Now the bandleader wants to hit the road and play neighboring towns with his newfound organ phenom.

You all load into one vehicle. Lockjaw is driving. The rest of you are passengers. No one else is with you. As night falls, you make your way down a dark, two-lane road through one small town to the next.

Remember, it’s 1955.

You’re a Black woman. You don’t want the car to stop for anything. You just need to get to where you’re going without notice or speed. You keep glancing at the dashboard. You’re running on empty. Your only option for fuel is a one-stop-sign town in the middle of nowhere. You pull up to a pump, drive over a small hose, which triggers the gas-station attendant’s bell.

Skeptical eyes cross your face.

You can’t swing like mad. Your organ is nowhere in sight. You can only respond with “Yes, sir.” and “Please, sir.” and “Thank you, sir.” and hope for the best.

Now this particular trip in the time machine is historical fiction. But I imagine similar scenarios constantly played out in Shirley Scott’s life. They certainly did for fellow musicians that looked like her, toured like her, and rehearsed like her.

Thank God you made it out in one piece, Saint Shirley. Talk about bravery.

What Would Shirley Scott Say? 

Here is some of Scott’s advice on how to learn to play well. Her words are relayed by Scott’s musical mentee, Tim Warfield. These tips may sound obvious, but they’re lifetime lessons for making good music:

Who Did Shirley Scott Play With? 

If you’ve listened to any of these artists, you likely heard Shirley Scott’s organ: 

• Eddie “Lockjaw” Davis (tenor saxophone)

• Stanley Turrentine (tenor saxophone)

• Harold Vick (tenor saxophone, flute)

• Jimmy Forrest (tenor saxophone)

• Mildred Anderson (vocals)

• Dexter Gordon (tenor saxophone)

• Al Grey (trombone)

• Joe Newman (trumpet)

• Jimmy Rushing (vocals)

• Al Smith (vocals)

Let’s Listen to Shirley Scott

Note: my playlists are publicly available and built using the music streaming service, Tidal. You’re also able to listen to this playlist in your preferred streaming service (e.g., Spotify, Apple Music, etc.) by following these instructions or by accessing this playlist link on any device.

Blog Post Sources: Independent, NPR, Wikipedia, Marian McPartland’s Piano Jazz program on National Public Radio (NPR)