In many photographs of disco,Jimmy Johnson's recording career begins with the Delmark LPs Johnson's Whacks (1979) and North/South (1982)…..
Amazing 100 CD Set of containing a plethora of Classic Jazz tunes. New Orleans was the starting point of the collective improvisation. The Jazz for which the city on the Mississippi Delta was to become so famous for developed at the beginning of the 20th century.
Covering prime early recordings from 1956-1960 and one mid-'80s cut, Blue Note's The Best of Jimmy Smith offers up a fine introduction to the trailblazing jazz organist. Smith's Blue Note sessions not only introduced the world to the complex solo possibilities of the Hammond B3 organ, but simultaneously ushered in the soul-jazz era of the '60s, spawning a wealth of fine imitators in the process. Before delving into more commercial terrain on Verve in the late '60s, Smith cut a ton of jam-session dates for Blue Note, often with the help of hard bop luminaries like trumpeter Lee Morgan, alto saxophonist Lou Donaldson, tenor saxophonists Tina Brooks and Stanley Turrentine, and drummers Art Blakey and Donald Bailey. All are heard here on classic cuts like "The Sermon," "Back at the Chicken Shack," and "The Jumpin' Blues," with Smith regular Turrentine and a young Morgan availing themselves in especially fine form. For his part, Smith eats up the scenery on all the sides here, taking his solo to particularly impressive heights on a fleetly swinging rendition of "When Johnny Comes Marching Home".
Erik Söderlind is a young man in no particular hurry. Not yet 30, he plays jazz guitar with supreme assurance, and on his debut album Twist For Jimmy Smith, he has put together a lovely, leisurely paced, always swinging collection of standards and originals that deserves worldwide recognition. Of course, he's unlikely to get it. We live in a world obsessed with image, a world that all too often mistakes image for the real thing. Should Sweden's Söderlind be passed over, it's the world's loss. Here he teams up with two other extremely talented local musicians, organist Kjell Öhman and reed man Magnus Lindgren to make an album that brooks repeated listening. Söderlind plays in a line stemming from Charlie Christian and continuing through Wes Montgomery and George Benson—and that's George Benson when John Hammond billed him "The Most Exciting New Guitarist On The Jazz Scene Today." Before someone discovered he could sing, dressed him in glittery suits and stuck him on the cabaret circuit. Twist For Jimmy Smith provides a glimpse of what jazz was all about in those far off days; though this album is not about nostalgia. It's about the real thing, what Söderlind, on the sleeve calls "the joy of making music" and communicating that joy.
This solid 2-disc compilation celebrates two decades of this label's existence. There are many worthwhile tracks but few surprises.
The arrival on the shelves of Wackerman's FORTY REASONS seemed a long time coming. After Wackerman's tenure with Zappa and his continued work with Allan Holdsworth (who, naturally, lends his guitar prowess to FORTY REASONS), it seemed only logical that the crafty beatsmith would go out on his own. FORTY REASONS is a tidy thesis of lessons well learned, a snazzy musical diary of 20 years of modern fusion surfeited with complex drumming, a multitude of elastic-time changes, and attractive, high-tech melodies. There's also a healthy funk base anchoring it all. This brazen re-thinking of the form renders its future prognosis quite healthy, thanks not only to Wackerman but also to bassist Jimmy Johnson and keyboardist Jim Cox. Wackerman's choice in sidemen gives FORTY REASONS drop kick, punch, and top-notch performances by an airtight band.
This funky little holiday gem from 1964 was originally released on Sue Records and was actually Jimmy McGriff's highest charting album, rising to number 15 on the pop charts that year. Naturally his gritty Hammond B-3 playing is front and center here, given wonderful support by drummer Jimmie Smith, guitarist Larry Frazier, and Rudolph Johnson on soprano and tenor saxophone. The whole affair is surprisingly energetic and spunky, and tracks like the hard-charging "Christmas With McGriff," the sleigh bell-embedded "I Saw Mommy Kissing Santa Claus," and the lively "Hip Santa" are all wonderful examples of upbeat soul jazz. Even the version of "Jingle Bells" that closes the set is funked up, riding a chugging rhythm and a bed of sleigh bells into the yuletide night. McGriff could have easily gone through the motions on this holiday session, and that he obviously didn't makes Christmas With Jimmy McGriff even more endearing.