20/08/2025
Moochin' About New Release...
Out Of This world by Creed Taylor Orchestra feat Kenyon Hopkins, Patrica Scot & Lynn Taylor
https://moochinaboutltd.bandcamp.com/album/out-of-this-world
Creed Taylor /Kenyon Hopkins come 2 more classics and lush orchestral works featuring jazz vocalists Lynn Taylor and Patricia Scot ...
The 'Best of the Barrack Ballads' (feat Lynn Taylor) is a comforting journey through timeless wartime and pre-war standards, this album reflects Creed Taylor's ability to craft nostalgic, evocative listening experiences using orchestral and choral arrangements. It's an album filled with sentimental resonance, ideal for listeners seeking elegance and emotional reflection.
Likewise 'Once Around the Clock' is a delightful gem produced by Creed Taylor, featuring the vocals of Patricia Scot ...
This album spotlights Patricia Scot's nuanced and heartfelt vocal performances, beautifully supported by Creed Taylor's tasteful orchestration. It's a standout example of jazz vocals backed by expert arrangement and a warm, expressive delivery—offering hidden treasures in its song choices and vocal interpretations.
Creed Taylor's direction showcases his distinctive taste and ability to elevate artists with a refined orchestral jazz backdrop. Patricia Scot is presented as a "stand-up" vocalist—her voice is expressive, dynamic, and refreshingly authentic—with arrangements that avoid overstaying their welcome .
Her vocal delivery is vibrant and versatile, blending humour ("Speed of Light") with emotional depth ("Mad About the Boy"). Reviewers liken her persona to a hip Julie Andrews with deep sincerity reminiscent of Billie Holiday .
Notable tracks:
"Just Once Around the Clock" (Romberg–Hammerstein) – a rare gem and the album's titular piece.
"Where Are You (Now That I Need You)" – a lesser-known Frank Loesser tune that Scot brings fresh life to .
"You Leave Me Breathless" – previously noted in a Coltrane–Garland jazz rendition, here given a bright vocal twist .
"Mad About the Boy" – a deeply felt and intense interpretation of the Noel Coward standard .
The Ensemble on this album features a small orchestra of jazz all-stars:
Phil Woods and Jerome Richardson on saxophones,
Jimmy Cleveland and Frank Rehak among the trombones,
Joe Venuto on vibes and percussion,
Bass work by Milt Hinton and Al Hall,
Drums from Don Lamond,
Arrangements by Bob Kenyon, with Creed Taylor directing the instrumentation that supports Scot's vocals thoughtfully and creatively, striking a balance between jazz nuance and vocal focus.
A 2009 reissue prompted renewed appreciation, revealing both Taylor's artistic subtlety and the lost talent of Patricia Scot. Although overshadowed in her time by the shifting tides of popular music, this recording deserves rediscovery for its craftsmanship and Scot's vocal charm .
Together, these albums reveal two contrasting yet connected sides of Creed Taylor's early work—in the voice-forward innovation of Once Around the Clock, and the sentimental orchestral romanticism of The Best of the Barrack Ballads. Whether you lean toward intimate jazz vocals or timeless ballads, both albums offer richly satisfying experiences...
The Best of the Barrack Ballads – Creed Taylor Chorus (1958)
** The Best of the Barrack Ballads**, released in 1958 by Creed Taylor on ABC-Paramount, is a charming collection spanning about 27 minutes and 24 seconds . It's credited to the Creed Taylor Orchestra & Chorus, highlighting his flair for orchestral vocal jazz.
Concept & Content
This album compiles sentimental and romantic wartime-era tunes often referred to as "barrack ballads," combining nostalgia with lush arrangements and are evocative classics—some romantic, some wistful—resonating with listeners who appreciate wartime and pre-war musical nostalgia.
Over these 2 albums Taylor's arrangements meld orchestral richness with a tasteful touch of crooning chorus. While less experimental than his later bossa nova and CTI productions, the album offers elegant, easy-listening appeal and sentimental charm.
A reviewer described it as "Pure relaxation ... brings back old time memories," praising the 12-track set as "great value" for its thoughtful curation...
Although specifics on the chorus personnel are limited, the album remains a delightful representation of Taylor's early approach—applying orchestral jazz sensibilities to beloved standards with a nostalgic edge.
Patricia Scot (born Charlotte Anne Shealy on 23 October 1931) was an American jazz vocalist whose artistry, though largely forgotten in the mainstream, has experienced a quiet renaissance among dedicated jazz aficionados. She began her musical journey in Milwaukee, singing with local groups before touring with the Tommy Reed Band. Later adopting the name Patricia Scot, she moved to Chicago, where she gained early recognition performing at the Steamliner jazz club—frequented by luminaries such as Bill Evans and Anita O'Day .
A pivotal moment came when acclaimed saxophonist Charlie Ventura invited her to perform with his band in Toronto. This exposure led to recording contracts with Tiffany Records and Wing, and appearances on radio and television, including a five-year role on In Town Tonight. In 1955, TV Guide named her "Best Female Singer" .
Her crowning studio achievement came in New York City in 1959, when she recorded Once Around the Clock with orchestral arrangements by Kenyon Hopkins, under Creed Taylor's direction. The album showcased her bright, expressive voice—versatile across tempos and moods—and included her own composition, "Let's Sit Down and Talk It Over" .
Despite the quality of her recordings, mainstream fame eluded her. She continued performing in clubs and hotels until 1970, after which she stepped away from music, pursuing a career in banking and later piano tuning. Following the death of her husband in 1997, she returned to music—forming a quartet, Prime Time, with trumpeter Jack Yorton in 1999, and performing locally in Florida into the 2000s .
Her voice and story have been revisited thanks to reissues. Critics have praised her vocal register as "bright and pretty and expressive and supple and always in tune," and notably, her original songwriting—rare for someone not primarily known as a songwriter - All About Jazz described her singing as a blend of a "hip Julie Andrews" and Billie Holiday's sincerity—highlighting her tonal clarity, emotional range, and musical judgment
Patricia Scot's legacy is that of a hidden gem—an elegant and expressive vocalist who recorded one remarkable album during the golden era of jazz vocals. Her later life, marked by a long hiatus and modest return to local performance, mirrors her musical arc—briefly shining before receding into obscurity, only to be rediscovered by those with an ear for understated brilliance.
Lynn Roberts - as featured on The Best Of The Barrack Ballads
Lynn Roberts - the celebrated big-band "girl singer" who helped define the Swing Era with her pure tone and effortless charm—captured in a refined promotional portrait.
Lynn Roberts: Life and Legacy of a Big Band Luminary
She was born Leonore Theresa Raising; January 9, 1935 in Brooklyn and raised in Queens, Roberts took to the stage as a child—making her performing debut at age 8 . By age 15, she had secured a coveted spot as the "girl singer" with Charlie Spivak's orchestra—launching a remarkable career that saw her performing with legendary bandleaders Vincent Lopez, the Dorsey brothers, Benny Goodman, and Harry James...
Roberts' tenure with these iconic bands was both lengthy and illustrious—spanning five years with the Dorsey brothers, ten with Goodman, and four with Harry James . She even ventured into television, singing alongside Sammy Kaye in a variety music program for eighteen months .
She also made history on Broadway—taking on the role of Marlene in the 1978 musical Ballroom—a testament to her stage presence and vocal command
Roberts' voice was also heard in countless advertising jingles, including memorable campaigns for Campbell's Soup ("Mmm, mmm good"), Chiquita Bananas, Pan Am, and more . In a playful turn, she lent her voice to Sesame Street, performing as one of the "Androoze Sisters"—an affectionate spoof of the Andrews Sisters .
Even after the swing bands faded, Roberts maintained a vibrant performing schedule—touring internationally with Doc Severinsen, appearing with the Philly Pops at the Stage Door Canteen tribute, and remaining a popular fixture on the local jazz scene in Hilton Head .
She also became a beloved presence at The Jazz Corner in Hilton Head, often appearing with pianist Bob Alberti. Alberti called her "one of the super songbirds of all time," praising her "pure, mellifluous voice" and graceful stage presence .
Roberts passed away at age 82 from cancer at her home in Sun City Hilton Head . Colleagues and fans remember her as a humble, joy-bearing performer who embodied elegance, sincerity, and a genuine love for her art. Her daughter described her as someone who believed music's purpose was to "give joy to others" .
Lynn Roberts's career spanned the golden age of big band jazz and beyond. From her early days with Charlie Spivak to defining roles with Benny Goodman and Harry James, Broadway appearances, commercial jingles, and local jazz stages—she carried the legacy of an era with grace and authenticity.
Her voice, described as "pure singing" with clarity and emotional resonance, continues to live on through recordings and fond memories—ensuring that her place among the great vocalists of the Big Band era remains secure .
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