Jimmy Smith brought the Hammond organ into hard bop and jazz in the 1950s, and his piano-fast solo runs on the instrument have never been equaled. This warm set from Blue Note Records, the label where Smith built most of his impressive legacy, selects eight of his performances for the label, including a 20-minute (and ten second) version of "The Sermon," the bouncing "Back at the Chicken Shack," and a fun romp through "See See Rider," among other delights, making this a quick introduction to the peak creative era of this one-of-a-kind jazz artist's long career.
Features 24 bit remastering and comes with a mini-description. Paul Smith, jazz pianist, widely known as Ella Fritzgerald’s conductor and pianist, an active studio musician with a brilliant technique. Paul Smith also worked with renowned Jazz figures, such as: Dizzy Gillespie, Anita O’Day, Buddy DeFranco, Louie Bellson, Steve Allen, Louie Bellson, Stan Kenton, Mel Torme and many others. Pick of the day, Paul Smith’s rendition to Bossa Nova. This is Paul Smith Piano and Orchestra – Brazilian Detour (1966), for Warner. Paul Smith is a virtuoso piano player; he goes from the “liquid sounds” slow playing to a faster approach, hitting keys strongly. Paul Smith also leads the orchestra.
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 today’s cultural climate of ironic detachment and post-millennial cool, it’s easy to be cynical about such lofty sentiments as peace, love, consciousness and enlightenment. In Smith’s case at least, it’s much more difficult to resist the medium which brings the message. As veteran jazz critic Nat Hentoff comments in the original liner notes to the ‘Expansions’ (1974) album, “There is power here, but it’s the power of serenity”. He wasn’t wrong. Few songs, at least few dancefloor anthems, have the ability to soothe and heal the soul while simultaneously exciting and enervating the senses. ‘Expansions’ does that and more, its dizzying, multilayered piano and keyboards, kinetic bassline and percussive complexity conspiring to transcend the boundaries of both jazz and funk.
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.
While its title and cover certainly suggest a record firmly in the bachelor pad/lounge music camp, Cool and Sparkling: The Liquid Sounds of Paul Smith nevertheless boasts a melodic ingenuity and technical emphasis that reward deeper listening. What keyboardist Smith dubs "liquid sound" is in fact a space-age pop precursor to soul-jazz, with an energy and groove all its own. Aided by clarinetist Abe Most, guitarist Tony Rizzi, and bassist Sam Cheifitz, Smith is too good a player and too clever a composer to settle for mere background music – structure is as important here as sound, and while Cool and Sparkling blends effortlessly with its surroundings, it never sacrifices substance for style.