he recording history of Little Jimmy Scott is peppered with long hiatuses from the studio. He was absent for a period of seven years from 1962 to 1969 and then for more than 15 years from 1975 to 1990. Bordering on singing in the range of a counter tenor, Scott brings a distinctive, immediately recognizable sound and sensitivity to material he sings. It is hard to find any other vocalist, other than Billie Holiday, who matches Scott's depth of emotion that he applies to the classic standards he favors. All the Way was recorded more than 40 years after Scott made his first album for Roost. Over those years, even with his long absences, he has been able to command the services of top of the line musicians. He is one of those rare vocalists that jazz musicians like to be on the stage or in the studio with. And this album is no exception, featuring an all-star lineup that includes Kenny Barron, Ron Carter, and Grady Tate on rhythm. David "Fathead" Newman's soulful sax on such cuts as "All the Way" compliments Scott's delivery perfectly. Like Scott, Newman leaves abundant room between the measures to allow the song to breathe, the listeners to gain the full flavor of what he has played and to anticipate what's to follow in a second or two. On such tunes as "Angel Eyes" and "At Last," Scott's delivery goes beyond mere poignancy, and moves close to reverence, such respect he has for the classics he has put in the song list. This is good stuff. Strings magically appear on some tracks. But they are done tastefully and don't get in the way. Jimmy McDonough's knowledgeable highlights of Scott's career are a welcome added attraction. he recording history of Little Jimmy Scott is peppered with long hiatuses from the studio. He was absent for a period of seven years from 1962 to 1969 and then for more than 15 years from 1975 to 1990. Bordering on singing in the range of a counter tenor, Scott brings a distinctive, immediately recognizable sound and sensitivity to material he sings. It is hard to find any other vocalist, other than Billie Holiday, who matches Scott's depth of emotion that he applies to the classic standards he favors. All the Way was recorded more than 40 years after Scott made his first album for Roost. Over those years, even with his long absences, he has been able to command the services of top of the line musicians. He is one of those rare vocalists that jazz musicians like to be on the stage or in the studio with. And this album is no exception, featuring an all-star lineup that includes Kenny Barron, Ron Carter, and Grady Tate on rhythm. David "Fathead" Newman's soulful sax on such cuts as "All the Way" compliments Scott's delivery perfectly. Like Scott, Newman leaves abundant room between the measures to allow the song to breathe, the listeners to gain the full flavor of what he has played and to anticipate what's to follow in a second or two. On such tunes as "Angel Eyes" and "At Last," Scott's delivery goes beyond mere poignancy, and moves close to reverence, such respect he has for the classics he has put in the song list. This is good stuff. Strings magically appear on some tracks. But they are done tastefully and don't get in the way. Jimmy McDonough's knowledgeable highlights of Scott's career are a welcome added attraction. false 2025-02-01 05:47:41 1992 1992-01-01 1992-01-01 42 Jazz 116953 2146180 5d449881-59be-435e-a921-877a86c84dbe 37868418-e2f2-4a1b-9517-165abac8b02b 864d87ac-538c-33a0-89df-850ea1e1df7b /media/data/media4/Music/Jimmy Scott/All the Way/folder.jpg /media/data/media4/Music/Jimmy Scott/All the Way/backdrop1.jpg /media/data/media4/Music/Jimmy Scott/All the Way/fanart.jpg Jimmy Scott Jimmy Scott 1 1 04:59 1 2 05:08 1 3 05:15 1 4 04:53 1 5 05:30 1 7 04:38 1 8 05:23 1 9 06:06 James Victor Scott (July 17, 1925 – June 12, 2014), known professionally as Little Jimmy Scott or Jimmy Scott, was an American jazz vocalist known for his high natural contralto voice and his sensitivity on ballads and love songs. After success in the 1940s and 1950s, Scott's career faltered in the early 1960s. He slid into obscurity before a comeback in the 1990s. His unusual singing voice was due to Kallmann syndrome, a rare genetic disorder that limited his height to 4 feet 11 inches (150 cm) until the age of 37, when he grew by 8 inches (20 cm). The syndrome prevented him from reaching classic puberty and left him with a high voice and unusual timbre. Sire Records