After almost a 10-year hiatus from recording in the 1980s, Shirley Scott came back to the studios for a brief burst of activity between 1989 and this final album from 1992. The last three of her records were produced by Britain's Alan Bates, who was stewarding the Candid label at the time. The first pair of these were piano trio sessions, but A Walkin’ Thing saw her back at the Hammond, albeit with her regular colleague Arthur Harper taking care of the basslines that she would formerly have negotiated with her feet.

Unlike the searing Queen Talk (reviewed last month) from 20 years before, where the excitement comes from her own playing as much as from her colleagues, this is a gentler, more subdued Scott and the fireworks are mainly left to the front-line of Stafford and Warfield. They acquit themselves well, both as a team on the heads and in their individual solos. After Stafford's extrovert outing on his own ‘DT Blues’, Scott's choruses create an oasis of calm. The lengthy title track has a long, slow-build solo from the organ, showing that Scott still has the sense of form and drama of all her best work.

Amid the originals, there are standards, and ‘When a Man Loves a Woman’ – played as an unaccompanied organ solo – has an almost hymnal solemnity, and what seems like a wistful look back at earlier days. By contrast, ‘How Am I To Know’ picks up at a medium soul tempo, but has a rather messy head from the horns. Everything comes together for the album closer, a gently swinging exploration of Irving Berlin's ‘Remember’, which reminds us of Scott in her heyday.