2009 release from the Jazz great containing Smith's complete classic Sermon sessions, in chronological order, together for the first time ever on a single set. These are his only preserved collaborations with Lee Morgan, the formidable trumpet player whose life came to a tragic end after being shot by his girlfriend at the tender age of 33. Tenor saxophonist Tina Brooks is also featured here. The outstanding reedman would pass away at the age of 42 after a life of drug addiction and self abuse. The great Jimmy Smiths was a Jazz musician whose performances on the Hammond B-3 electric organ helped to popularize this instrument.
In 2000 when Blue Note upgraded 1958's House Party as part of the label's superior Rudy Van Gelder series, they augmented the title with a ten-plus minute driving blow of Charlie Parker's "Confirmation" as a well-chosen bonus track. Now the effort is bookended by some primal Bird, which was always a forte of the assembled coterie. ~ AllMusic
Organist Jimmy Smith's next-to-last LP for Blue Note after a very extensive seven-year period is up to his usual level. With altoist Lou Donaldson joining Smith's regular group (which included guitarist Quentin Warren and drummer Donald Bailey), the quartet swings with soul on such fine numbers as "When My Dream Boat Comes Home," "Can Heat," "Please Send Me Someone to Love" and "Just a Closer Walk with Thee." With the exception of the closing ballad, "Trust in Me," all seven of the selections are closely related to the blues.
Groove great Kenny Burrell and Jimmy Smith (Hammond organ) together on the same album. Includes a rendition of "Fever." Three days of spare studio time while Smith was at work on a big-band date led to this highly enjoyable blowing session. The principals' interplay on the title-track sums up their whole musical relationship: punchy, bluesy but soaked in the good homour of playing for kicks.
Jimmy Smith wasn't the first organ player in jazz, but no one had a greater influence with the instrument than he did; Smith coaxed a rich, grooving tone from the Hammond B-3, and his sound and style made him a top instrumentalist in the 1950s and '60s, while a number of rock and R&B keyboardists would learn valuable lessons from Smith's example.
Respect/Livin’ It Up, a two-on-one release from Verve Select, brings together two classic albums from Jimmy Smith, the world’s premier jazz-soul organist. Smith became a star with Verve Records in the mid-1960s. He leaned on superb big band arrangements by Oliver Nelson, a change from his earlier, small-group recordings on Blue Note. With Respect in 1967, Smith did something that thrilled his fans: he returned to a small group setting in Rudy Van Gelder’s now-legendary studio with his old Blue Note guitarist Thornel Schwartz, as well as Eric Gale, bassists Ron Carter and Bob Bushnell, and drummers Grady Tate and Bernard Purdie.
Extending the good vibes created out of their first pairing on the live recording Incredible!, organists Joey Defrancesco and Jimmy Smith get down to business on Legacy. The two stellar and funky musicians have a great musical rapport and seem to really enjoy playing together. Fans of Incredible! will most likely find much to enjoy here. The album has a heavy Latin sound with percussionists Ramon Banda and Jose "Joey" de Leon supplying additional timbales and conga rhythms respectively. Also joining in this time around is special guest tenor saxophonist James Moody, who adds his fiery bop chops to "Jones'n for Elvin." Backing Defrancesco and Smith here are bassist Tony Banda, guitarist Paul Bollenback, and drummer Steve Ferrone.
Jimmy Smith recorded for Blue Note so frequently during the late '50s that many of his sessions remained unreleased for years. The music that comprises Lonesome Road sat in the vaults for years, until the Japanese division of Blue Note released the album in the '80s. Since Smith had so many albums on the market, it's understandable that Blue Note wanted to limit the number of records they released from him, but the music on Lonesome Road is almost as fine as that on The Sermon or Groovin' at Small's Paradise.