Jimmy Smith was the first artist to show that the Hammond B-3 organ could be used in the jazz context creatively. Smith had been a childhood prodigy on piano as he grew up in Pennsylvania. After seeing “Wild” Bill Davis (there are many who debate that Davis was the first true jazz organist) at the Harlem Club in Atlantic City he decided to switch to the Hammond B-3. Davis is reported to have told Smith it would take 50 years to learn how to use the bass pedals properly. Smith, who later earned the sobriquet “Incredible”, mastered it in only a few years. By 1955 he was tearing up the same Atlantic City scene where jazz vocalist Babs Gonzales would discover him. Retrospective’s liner notes quote Gonzales: “I heard futuristic, stratospheric sounds that were never before explored on organ.” Smith’s impact on the role of the organ in jazz is often compared to the impact that Charlie Christian had on guitar.
Jimmy Smith began recording for Blue Note in 1956. Thus began a 7 year uninterrupted stretch of classic recordings for the label. Jimmy also recorded for Blue Note in 1986 and a track from that session is included in this compilation. Retrospective primarily pulls from 1956-1963 with cuts ranging from Jimmy’s preferred organ, guitar, and drums trio to larger ensemble work most notably with Kenny Burrell, Art Blakey, and Lou Donaldson. Jimmy Smith’s Blue Note sides are arguably when he was at his creative peak. He did become more popular once he started recording for Verve, but the popularity came at the expense of his jazz chops as he recorded more commercial pop fare. He also made some funky sides in the early 70’s that would end up being sampled by many hip-hop artists, the best example being the Beastie Boys use of “Root Down”. Whether you only know Jimmy Smith from samples, the Verve sides, or you’re a fan of the Blue Note era Retrospective is must listening.
Highlights from disc 1 of this 4 disc set include “The Champ”, “Judo Mambo”, and “Groovy Date”. “The Champ” from 1956 was Jimmy’s first hit and he really tears into the Dizzy Gillespie number, steadily building excitement all through the song and expressive use of block chords. Donald Bailey who usually played drums in Smith’s trio format shines on the Jimmy Smith composition “Judo Mambo”. “Groovy Date” from 1957 is a sextet jam and Smith fits right in with hard bop players Lou Donaldson, Donald Byrd, Hank Mobley, Eddie McFadden, and Art Blakey.
Article comments
1 - Eric Olsen
excellent Wally, thanks so much, just linked to it from the obit