The Jazz Diaspora: Beauties On The Beast

The Jazz Diaspora: Beauties On The Beast:
The fact that the Hammond organ was invented by a man that claimed he couldn't play an instrument nor "even carry a tune" is a bit surprising. Though he had no musical talent, Laurens Hammond acquired a taste for opera and other classical music early in his life, he became an inventor and went on to patent more than 100 electrical and mechanical devices by the time he retired. Promoted as "low-cost pipe organ substitutes" for churches, the Hammond organ, particularly the B-3 model (a.k.a. The Beast), was to become a mainstay among jazz keyboardists. Jazz and gospel music would be much poorer (and way less rockin'!) if it weren't for the Hammond B-3 organ.
Among the jazz organ greats, and there are a good handful to dig, we have Shirley Scott and Rhoda Scott (no relation) to consider. Born just a few years apart, both players had a similar upbringing that allowed them the time to develop their formidable skills. Both had come up in musical homes and the church played a role in allowing their growth as musicians. Rhoda's father was a minister, which permitted her precious time with the instrument, and Shirley's first gig was at a local church.
In this interview Rhoda Scott lists Jimmy Smith, Groove Holmes, Wild Bill Davis and Fats Waller among her organ heroes and there can be little doubt that Shirley Scott had great admiration for these same players. Rhoda goes on to say, "All organists listen to other organists. You have to. As a result, there’s a constant stream of knowledge that’s passed between us. As instrumentalists, we’re more attached to each other."
Watching a top-notch organist is like watching a top-notch drummer—they're seemingly effortless, all the limbs working independently and yet achieving a unified groove with an amazing display of dexterity. In the trio setting, they are simultaneously the rhythm section and the lead instrument which involves soloing with the right hand, comping chords with the left, playing bass lines with the left foot, and controlling the volume with the right. It's like rubbing your belly and patting your head while chewing gum and sounding like a carnival, a big band, a horn section, a small jazz combo, a funk group, or a percussion section and looking cool and collected while doing it.
With the amount of time it would take to practice and master these skills, it is little wonder when Shirley Scott tells us "I won't go to work unless I intend to play as best I can—I don't care where, or with whom I'm playing, it might be the last time I ever play. I take what I do seriously—when I'm there, that's where I want to be. I always play hard, all the time. The music helps me; it helps me to feel better, it's a form of release. I've gone to work really sick, and once I start playing I feel no pain—it's like an elixir for me while I'm performing; it consumes me."

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