Roger Kellaway Featuring Tom Scott - 1967 - Spirit Feel

Roger Kellaway Featuring Tom Scott 

1967 

Spirit Feel

01. Spirit Feel (4:50)

02. Portrait (6:30)

03. Ten To Five (6:15)

04. Witchwatcher (1:40)

05. Blues For Hari (5:20)

06. One, Two, Three, Four, Five (4:45)

07. Comme Ci Comme Ca (4:50)

08. Double-Fault (4:45)

Alto Saxophone, Tenor Saxophone – Tom Scott

Bass – Chuck Domanico

Bass - Red Mitchell (track: 8)

Drums – John Guerin

Piano – Roger Kellaway

Roger Kellaway (born November 1, 1939, in Waban, Massachusetts) is an American pianist, composer, and arranger whose versatility has spanned jazz, film, and classical music for over six decades. A child prodigy, he studied at the New England Conservatory, mentored by pianist Phil Saltman. By the early 1960s, he was a New York sideman, playing with Kai Winding, Al Cohn, and Zoot Sims, before joining the Clark Terry/Bob Brookmeyer Quintet in 1964, honing his lyrical yet adventurous style.

Relocating to Los Angeles in 1966, Kellaway joined Don Ellis’s big band and recorded Spirit Feel (1967), his leader debut, showcasing his compositional voice. His career blossomed—composing for the New York City Ballet, scoring films like A Star Is Born (1976, Oscar-nominated), and writing TV themes (All in the Family). He recorded with Stan Getz, Carmen McRae, and his own Cello Quartet, blending jazz with chamber music. A Grammy winner for arranging (1988), Kellaway remains active, his music a bridge between genres, like a conversation where everyone’s invited—and he’s got the best stories.

Tom Scott (born May 19, 1948, in Los Angeles, California) is an American saxophonist, composer, and arranger whose career spans jazz, pop, and film scoring with virtuosic flair. The son of composer Nathan Scott, he was a prodigy, gigging professionally by 16. At 18, he shone on Spirit Feel (1967), his breakout alongside Kellaway, blending Coltrane’s fire with cool-jazz finesse. His debut, Honeysuckle Breeze (1967), followed, cementing his reputation.

In the 1970s, Scott became a studio titan, playing on Steely Dan’s Aja, Joni Mitchell’s Court and Spark, and Quincy Jones’s projects, while leading The L.A. Express, a jazz-fusion powerhouse. His film and TV work—scoring Starsky & Hutch, Taxi Driver—earned Emmys, and his 1980s pop hits with Michael Jackson and Whitney Houston brought mainstream fame. A three-time Grammy winner, Scott’s saxophone still sings, whether in jazz clubs or on soundtracks, like a storyteller who’s seen it all and plays it better.

Roger Kellaway’s Spirit Feel, released in 1967 by Pacific Jazz Records, is a vibrant and eclectic debut that showcases the pianist’s versatility, compositional flair, and knack for blending jazz’s swing with modernist touches. Recorded with a stellar quartet—featuring a young Tom Scott on alto and soprano saxophones, Chuck Domanico and Red Mitchell on bass, and John Guerin on drums—the album captures a moment of creative ferment in West Coast jazz. This long-form analysis will dissect the album’s musical structure, historical context, and artistic significance, with a special focus on Tom Scott’s pivotal role. A critical review will assess its place in Kellaway’s oeuvre, followed by concise biographies of Kellaway and Scott. Written with scholarly depth yet accessible prose, the piece includes a touch of wit—because even Kellaway’s sophisticated chords deserve a playful nudge now and then.

In 1967, Roger Kellaway was a rising star, fresh from New York’s jazz scene and newly settled in Los Angeles. Having cut his teeth with luminaries like Clark Terry and Bob Brookmeyer, he was known for his chameleon-like ability to navigate straight-ahead jazz, third-stream experiments, and studio work. Spirit Feel, his first album as a leader for Pacific Jazz, was a chance to stake his claim as a composer and bandleader. Produced by Richard Bock and engineered by Lanky Linstrot, the sessions took place in Los Angeles, likely in early 1967, with a quartet tailored to Kellaway’s vision.

The choice of personnel was inspired. Tom Scott, just 18 and already a prodigy, brought a fiery yet lyrical voice on saxophones, his versatility matching Kellaway’s. Chuck Domanico’s bass provided a rock-solid foundation with a melodic touch, while John Guerin’s drumming added dynamic color. Red Mitchell, a jazz veteran, guested on one track, adding gravitas. The album’s eight tracks—six Kellaway originals, one standard, and a nod to Milt Jackson—reflect a young artist eager to explore, like a painter splashing colors on a fresh canvas, but with a jazzman’s precision.

Spirit Feel comprises eight tracks: “Spirit Feel,” “Portrait,” “Ten to Five,” “Witchwatcher,” “Blues for Hari,” “One, Two, Three, Four, Five,” “Comme Ci Comme Ca,” and “Double-Fault.” Spanning roughly 37 minutes, the album balances structured compositions with improvisational freedom, its mood shifting from introspective to exuberant. Kellaway’s piano leads, but Scott’s saxophones are a constant spark, making the quartet feel larger than its parts.

The title track (4:50), a Milt Jackson composition, opens with a buoyant swing, its bluesy melody a nod to the Modern Jazz Quartet. Kellaway’s piano states the theme with crisp, bebop-inflected lines, while Scott’s alto sax bursts in, his tone bright and assertive, like a kid stealing the spotlight with charm. Domanico’s walking bass and Guerin’s light snare work drive a relaxed groove, accented by Paul Beaver’s musique concrète tape effects—an odd but intriguing touch, like a UFO landing mid-jam. Kellaway’s solo is playful, weaving Monk-like quirks with lyrical runs, while Scott’s improvisation crackles with energy, his phrases darting unpredictably. It’s a spirited opener, setting a tone of joy and experimentation.

“Portrait” (6:30), a Kellaway original, slows to a reflective ballad, its melody evocative of a watercolor sketch. Kellaway’s chords are lush, blending jazz harmony with a hint of Debussy, while Scott’s soprano sax—his first appearance here—sings with a tender, almost vocal quality. Domanico’s bass hums softly, and Guerin’s brushes whisper, creating a delicate canvas. Kellaway’s solo explores the tune’s harmonic nooks, his touch light yet purposeful, like a poet choosing words carefully. Scott’s solo is lyrical, staying close to the melody but adding subtle flourishes, a sign of his maturity despite his youth. The track’s intimacy is its strength, a quiet moment that lingers like a fond memory.

“Ten to Five” (6:15), another Kellaway piece, swings with a quirky edge, its title possibly a nod to a workday’s end—or a sneaky 10/8 meter Kellaway toys with. The melody, shared by piano and Scott’s alto, is angular and catchy, like a theme for a jazzy spy flick. Guerin’s drums push a lively tempo, with Domanico’s bass locking in tightly. Kellaway’s solo is a highlight, blending bluesy licks with chromatic surprises, while Scott’s alto burns, his lines weaving through the changes with precocious confidence. The track’s energy is infectious, a reminder that Kellaway could make complexity feel like a party—bring your dancing shoes, but watch the time signature.

“Witchwatcher” (1:40), the album’s shortest track, is a curious interlude, its dissonant piano chords and Scott’s eerie soprano creating a spooky vibe. Guerin’s mallets and Domanico’s sparse bass add tension, like a soundtrack for a haunted forest. There’s no soloing, just a brief, atmospheric sketch—think of it as Kellaway and Scott tiptoeing through a musical Halloween prank. It’s over before you can blink, but its oddity adds charm, a dash of weirdness to keep you guessing.

“Blues for Hari” (5:20), dedicated to sitarist Harihar Rao, brings a soulful groove with an Eastern twist, a nod to Kellaway’s global curiosity. Scott’s alto leads with a bluesy wail, his tone gritty yet melodic, while Kellaway’s piano lays down funky chords with a hint of raga-like drones. Domanico’s bass swings hard, and Guerin’s drums add a syncopated kick. Scott’s solo is a standout, blending Coltrane-esque intensity with a youthful swagger, while Kellaway’s improvisation digs deep into the blues, his left hand rumbling like a storm. track’s fusion of styles feels natural, like a jam session that wandered from Harlem to Bombay.

“One, Two, Three, Four, Five” (4:45), a Kellaway original, is a playful romp, its title possibly mocking simple counting—or hinting at a 5/4 meter that sneaks in. The melody, traded between piano and Scott’s alto, is jaunty, with a Broadway-like bounce. Guerin’s drums sparkle, and Domanico’s bass skips along. Kellaway’s solo mixes stride piano with modernist twists, like Fats Waller meeting Schoenberg for coffee. Scott’s solo is fiery, his phrasing sharp and unpredictable, pushing the tempo without losing control. It’s a grin-inducing track, like a musical game where everyone’s winning.

“Comme Ci Comme Ca” (4:50), the lone standard, is a French-flavored waltz, its melody delicate yet cheeky. Kellaway’s piano glides, his chords evoking a Parisian café, while Scott’s soprano sax floats above, its tone pure and lyrical. Domanico’s bass waltzes gracefully, and Guerin’s brushes add a soft swing. Kellaway’s solo is elegant, with a touch of Bill Evans’s harmonic depth, while Scott’s improvisation stays melodic, his notes dancing like fireflies. The track’s lightness is refreshing, a nod to tradition that feels fresh—like a beret worn at a jaunty angle.

Closing with “Double-Fault” (4:45), featuring Red Mitchell on bass, Kellaway delivers a hard-swinging finale, its title a tennis pun for a track that serves up energy. The melody, led by Scott’s alto, is bold and bluesy, with Kellaway’s piano adding punchy chords. Mitchell’s bass drives with authority, and Guerin’s drums crackle. Scott’s solo is explosive, his lines weaving through the changes with virtuosic ease, while Kellaway’s solo swings fiercely, his right hand flying like a jazz Federer. The track’s intensity wraps the album with a bang, like a match point you didn’t see coming.

Tom Scott’s Role: The Prodigy’s Spark

At 18, Tom Scott was a revelation on Spirit Feel, his alto and soprano saxophones adding fire, lyricism, and versatility to Kellaway’s vision. His role wasn’t just sideman—he was a co-star, his youthful energy and technical prowess shaping the album’s character. On tracks like “Spirit Feel” and “Blues for Hari,” Scott’s alto burns with a Coltrane-inspired intensity, his tone sharp and emotive, yet he never overplays, showing a maturity beyond his years. His solos, as in “Ten to Five” and “Double-Fault,” are confident and unpredictable, weaving through Kellaway’s complex harmonies with ease, like a rookie stealing bases in the majors.

Scott’s soprano sax, featured on “Portrait” and “Comme Ci Comme Ca,” brings a contrasting tenderness, its pure tone evoking Sidney Bechet or Steve Lacy but with a modern edge. His ability to switch between instruments—alto for grit, soprano for grace—mirrors Kellaway’s versatility, making them ideal partners. Tracks like “Witchwatcher” highlight his willingness to experiment, his eerie lines matching the tune’s oddity. Scott’s presence elevates the album, his solos sparking interplay that pushes Kellaway and the rhythm section to new heights. He’s not just along for the ride—he’s got one hand on the wheel, grinning as he accelerates.

Spirit Feel is a showcase for Kellaway’s multifaceted talent—his piano blending bebop fluency, modal exploration, and classical influences into a voice both accessible and adventurous. His originals, like “Ten to Five” and “Blues for Hari,” balance structure and freedom, their melodies memorable yet open to improvisation. The inclusion of Paul Beaver’s tape effects on “Spirit Feel” nods to the era’s avant-garde, a quirky experiment that adds texture without dominating. Scott’s saxophones amplify this blend, his tonal range and rhythmic flexibility bridging jazz’s past and future.

The rhythm section—Domanico, Guerin, and Mitchell—is understated but crucial. Domanico’s basslines are melodic yet firm, Guerin’s drumming dynamic and colorful, and Mitchell’s guest spot adds veteran weight. The album’s production, by Bock and Linstrot, is clean, capturing the quartet’s interplay with warmth, though the mono mix (typical for 1967) can feel slightly flat compared to later stereo reissues. One critique: the album’s eclecticism—ballads, blues, waltzes, oddities—might lack cohesion for some, like a buffet with too many flavors. Yet this variety is its charm, a young artist flexing every muscle.

In 1967, jazz was a kaleidoscope—Miles Davis was going electric, Coltrane was soaring spiritually, and the West Coast scene thrived with cool and studio sounds. Spirit Feel sits at this crossroads, its swing rooted in tradition but its experiments (tape effects, Eastern nods) pointing forward. Released on Pacific Jazz, a label known for Gerry Mulligan and Chet Baker, it was a modest hit, praised by critics like Pete Welding for its “freshness and vitality.” Its obscurity today—eclipsed by Kellaway’s later work or Scott’s pop fame—belies its influence, a precursor to jazz’s fusion and crossover waves.

Culturally, the album captures the 1960s’ spirit of exploration—think Summer of Love vibes or early space missions. Kellaway’s “Blues for Hari” reflects the era’s fascination with Indian music (Ravi Shankar was all the rage), while Scott’s youthful fire mirrors the counterculture’s energy. Its gatefold sleeve, with Woody Woodward’s art, screams 1967 cool. The album influenced peers—Robben Ford cites Kellaway and Scott as inspirations—while Scott’s early brilliance here foreshadowed his genre-spanning career. It’s a hidden gem, like finding a vintage Mustang in a garage, still ready to roar.

Spirit Feel is a delightful debut, a snapshot of Roger Kellaway’s boundless talent and a launchpad for Tom Scott’s stardom. Its eight tracks weave swing, blues, and modernist quirks into a tapestry that’s both cerebral and fun. Kellaway’s piano sparkles—lyrical, witty, fearless—while Scott’s saxes ignite, his youth and skill a perfect foil. Domanico, Guerin, and Mitchell ground it all with finesse, making the quartet feel like a big band in miniature. The production shines, capturing every note with clarity, though a stereo mix might’ve added depth.

If there’s a quibble, it’s minor: the album’s genre-hopping can feel scattered, like a playlist shuffled by an overeager DJ. But this restlessness is its genius, a young artist saying, “I can do it all.” Compared to Kellaway’s later Cello Quartet or Scott’s Honeysuckle Breeze, it’s rawer, less polished, but brimming with promise. For jazz fans, it’s a must; for newcomers, it’s a welcoming dive into 1960s cool, provided you’re ready for a few unexpected turns.

In short, Spirit Feel is like a jazz joyride—smooth, thrilling, with a few quirky detours. Play it, let Scott’s sax soar and Kellaway’s keys dance, and feel the spirit of 1967 come alive.