Doodlin’ Records follows the goals and objectives set forth by the Doodlin’ Lounge radio program. That is to say, the light of recognition and acknowledgement continues to be cast upon those who are involved in the study and preservation of America’s treasured classical music. It is a spot for all musicians who feel a soul jazz simpatico to share ideas and develop their music to it’s most satisfying and soulful manifestation. Doodlin’ Records would like to facilitate those musicians from the Soul Jazz era and beyond who still have the love and passion for this great musical art form to play and perform it on record for future generations. Those younger players who follow in the footsteps of Soul Jazz legions are certainly invited to step forward in the spirit of both collaboration and innovation. It is our sincere hope that Doodlin’ Records will find a groove in which to ride; a place where like-minded and soulfully-matched individuals can meet and continue to create in the tradition set forth by the Jazz Masters.Rhoda Scott first played on the West Coast in November of 2000 when she appeared at the San Francisco Jazz Festival. Before this, her occasional trips to the States from her home outside of Paris were usually to visit family and friends in Newark, New Jersey. Since 2000, she has made the westward trek to play the Monterey Jazz Festival; the International Association for Jazz Education (a conference that was held in Long Beach, California); and the Vail Jazz Festival in Colorado. During these visits she has managed to sandwich-in several club dates, much to the delight of the West Coast jazz community. These recent trips, along with her rapidly growing fan base, have inspired this recording. Two important saxophonists were selected for this session: Red Holloway and Plas Johnson. Rhoda has worked with both gentlemen before and is comfortable with their styles. Having begun her recording career over forty years ago next to a tenor player (Joe Thomas), allowed for a natural and familiar pairing of voices. Lucien Dobat has been Rhoda’s regular drummer for many years now and he provides the heartbeat of the ‘Rhoda Scott Sound’. For this recording, he and Rhoda bring the continuity of their road work into the, otherwise, sterile environment of a studio. The newer voice on this date is that of guitarist Carl Lockett. He and Rhoda played together in 2000 at the San Francisco Jazz Festival and they were eager to match musical wits once again. For Rhoda, playing with a guitarist is not always necessary since she comps effectively with her left hand and plays full bass accompaniment with her feet. Carl’s bright sound and clever fills, however, strengthened the groove and, as Rhoda said, “jazzed things up”. What this recording has, above all else, is musicality. Anyone who listens to one or more of these tracks will come away filled with memorable heads and phrases that last throughout the day. Any given track can linger in your mind and beckon for re-play. When asked if he had any original tunes for the session, Red Holloway quickly responded with; “Yeah, I sure do!” He then proceeded to vocalize a Blues that had come to him while he waited for his flight earlier that morning. Once Red explained the call- and-response of this Blues, \Waitin’ For The Plane\ took-off-running with Rhoda flying high on her Hammond B-3. (Notice how Red and Plas switch parts in their opening conversation). Pee Wee Ellis’, ‘Blues Alley’ is another track that gives everyone a chance to blow. It is ‘Classic Rhoda Scott’ with no frills – just all thrills. Her block chording and energetic soloing style distinguishes her from all the others currently playing the Hammond organ. The interplay between Red and Plas, again, rollicks as it recalls good times and revels in the glory of musical friendships. Carl, once again, proves he can bring home the bacon. Popular tunes from the sixties often surface in Rhoda’s play list. Her rendition of the Mamas and Papas’, ‘Monday, Monday’, was an instant hit at the session. It grabbed our sound engineer, Russell Bond, like no other track that day. How Rhoda jumped right into this arrangement made all the difference to Russell’s ears. The idea of merging ‘O Danny Boy’ with ‘Lift Every Voice’ was first met with quiet reserve. I was not sure if Rhoda was feeling what I was feeling in this regard. I could not have been more surprised when she began to juxtapose these two classics in her own inimitable way. She has created, what I feel, is one of the most endearing organ medleys of all time. I will forever be grateful to Rhoda Scott for those magical moments spent in the studio, creating this masterpiece. The Blues are well represented throughout this session, as well they should be. Rhoda’s love and appreciation for the Blues dates back to her early days in Newark, New Jersey where ‘playing the Blues’ was an absolute must. ‘Next Time You See Me’ was a first choice for both Rhoda and me. It gave her a chance to spread her wings and for Carl to bend some strings. Plas Johnson is the undisputed heavyweight champ of classic R & B chartbusters and no one can deny him his due on this track. Rhoda’s original tune, ‘From C to Shining C’ jumped from the organ like a playful nursery rhyme when I first heard it. It carries an undeniable appeal and seems to fit into her repertoire like a comfortable pair of shoes. Speaking of shoes, Rhoda did not have hers on when she pedaled her way through this title track; taking time to solo on foot pedals as only she can do. Rhoda says she got the idea for this tune after an audience member at one of her San Francisco club engagements questioned her about the foot pedals of her Hammond organ. Rhoda explained that the bottom C note was reached with her left foot and the upper C was tapped with her right foot. The delighted music fan announced: “That’s like C to Shining C”! Plas also had an original song to contribute that day. His was an altogether different composition. ‘Reveries’ is a soulful, R & B flavored tune that pulls on the heartstrings and showcases Plas at his finest. Rhoda’s churchy feel preserves this track as a potential tenor/organ gem for all time. Rhoda has admitted that her fans have requested ‘Tico Tico’ for many years. Never stopping to think about a new arrangement, she withheld any public performance until this recording date. I think you’ll love what she has done with this classic tune, made famous by organist Ethel Smith in 1941. Rhoda’s take is fresh and alive with new rhythms and a bouncy feel from Lucien. This one is certainly ready for a new generation to hear. We close this session with the Ray Charles classic, ‘Hit the Road Jack’, which is a tune that Rhoda dares not forget to play in her live performances. This, too, is a frequent request but now it is documented for her worldwide fans to savor whenever they choose. Listen, how she ‘Rhoda-fied’ this familiar Ray Charles hit into a classic, organ groove. I hope that you will enjoy this recording as much as Rhoda Scott and her Friends have enjoyed creating it. Let the truth be known: Rhoda Rocks From C to Shining C ! Pete Fallico Bill Heid came of age in the crucible that was Pittsburgh in its jazz heyday, hanging out at legendary Hill District clubs like the Hurricane Bar and the Crawford Grill. All the jazz greats regularly played in town back in the sixties and young Bill took every opportunity to sit in and learn from these masters. In addition to the many musicians passing through town during that period, Pittsburgh had produced some of the greatest names in jazz – Ahmad Jamal, Art Blakey, Errol Garner, George Benson, Eddie Jefferson, Mary Lou Williams, Stanley Turrentine, to name a few, all called Pittsburgh their hometown. Bill took these lessons and experiences and headed West to Detroit and Chicago, where he built a solid blues resume, touring and recording as a pianist with Jimmy Witherspoon, Koko Taylor, Alberta Adams, Fenton Robinson, and many others. He also played jazz piano on two major Impulse!/MCA recordings for Chicago guitarist Henry Johnson, who called Bill’s piano playing “brilliant”, and adds that Bill “…brings fire, excitement and a feeling of the blues to any recording that he appears on.” It is as an organist though that Bill became better known, recording as a leader on several outstanding jazz organ dates in the mid to late nineties for the Muse/Westside and Savant labels. Bill’s organ sound is at once gritty and sophisticated and is flavored with Bill’s idiosyncratic style and unique vernacular. Now, after having spent a number of years working in Japan and touring all over the world for the U.S. State Department as a Jazz Ambassador, Bill is back stateside where he can be heard on organ and piano engagements at various venues in the Washington, D.C. area. For “Air Mobile”, his first piano recording as a leader - and hopefully the first of many - Bill came home and sought out bassist Dwayne Dolphin, drummer Roger Humphries, and percussionist George Jones, three top-caliber Pittsburgh musicians. It was at the Hurricane Bar in 1968 that Bill first heard Roger playing with legendary guitarist Grant Green and organist Clarence Palmer. At that time, Roger had just recorded the masterpieces “Song For My Father” and “The Cape Verdean Blues” with pianist Horace Silver. Bassist Dwayne Dolphin has toured and recorded with Wynton Marsalis, Stanley Turrentine, Geri Allen and many others. And conga player George Jones, a mainstay on the Pittsburgh jazz and Latin scene... (from liner notes written by Linda Goshay Jones, Pittsburgh, PA October 2006) Originally from Chicago, Wil Blades has been performing since the age of ten and playing professionally in the Bay Area ever since he majored in Jazz Studies at the New College of California. In this, his first session as a leader, Wil shows how his compositional skills and creative soloing style have propelled him into the upper levels of our New Jazz Organ Movement. World renowned drummer Idris Muhammad joins Wil in this debut release to re-ignite the excitement that the two of them have shared in their many on-stage performances. The collective efforts of guitarist Will Bernard; saxophonists Gabe Eaton and Dayna Stephens; and trombonist Mike Rinta are triumphant in capturing the essence of Wil Blades and his music. This promises to be one of the best releases for 2007. It’s new - and it’s happening!