Chicapah Out of curiosity I looked up the definition of the word “cool” (as it pertains to art, that is) and soon realized that there is no description of that adjective that completely satisfies me in the modern dictionaries I consulted. So I’ll humbly offer my own and hope it enhances the general English-speaking vernacular. Cool = A coveted state of timeless existence that nothing disreputable or negative can find a way into and where perfection is possible to achieve. Okay, so it’s sorely lacking in scope and/or intellectual integrity but that’s how I feel about what Jimmy Smith and his talented cohorts did on his 1961 release, “Midnight Special.” It is irrefutably “cool.”

Of course, being a devotee of the charms associated with the magnificent Hammond B3 organ may play a big part in my assessment but that can’t be helped. In my book it’s one of the most expression-conducive of musical instruments ever invented and there’s just something about how, in the hands of a professional like Mr. Smith, it can penetrate the walls of my very soul like few others can. Jimmy was one of the very first to realize the Hammond’s vast potential and he successfully demonstrated to all that it belonged in the jazz realm just as much as the saxophone and the guitar. I’m sure the B3 had its haters because it tended to flood any given room with its massive aura, thus drowning out the more delicate tools of the trade in the process, but Smith wasn’t going to let the organ’s inherent obesity keep it out of the mainstream. What he did was to gather some of the genre’s best players in the studio and allow them to curl their artistry around the Hammond’s warm personality in a congenial environment. The result is a sizeable body of work that will endure for centuries to come. All of Jimmy’s albums have something in them to enjoy but I daresay you’ll find none more fulfilling than “Midnight Special.”

The title cut starts things off wonderfully. Don’t let the title fool you. It’s not a hokey instrumental version of the old rockabilly hit but a mature, flowing jazz piece written by Smith himself. Let me tell you, it doesn’t get any “cooler” than this. The vibe that he, tenor saxophonist Stanley Turrentine, guitarist Kenny Burrell and drummer Donald Bailey concoct is so relaxed and smooth that it transports you to another time and place entirely. This is a brand of jazz that really needs no explanation. Turrentine’s “A Subtle One” is next and its infectious melody rides atop a snazzy shuffle laid down by Donald’s kit and Jimmy’s understated bass pedal work. The song also features an intriguing chord progression and Smith utilizes a very muted tone to surround Stanley’s sensuous sax before dialing up some treble to add punch to his outstanding organ solo. The combo’s rendition of the classic “Jumpin’ the Blues” is next and they establish a peppy, playful groove for it to travel in. Turrentine flits atop Jimmy’s creative chording for a while then steps back to let the B3 take command. Smith hunkers down and lets the magic stream out of his fingertips and it becomes crystal clear why the man was such an enormous influence on all who ever sat down at a Hammond. It’s worth mentioning that Mr. Burrell turns in a performance on his guitar that is sleek and sure.

A 1929 chestnut entitled “Why Was I Born?” by Jerome Kern (from the musical “Sweet Adeline”) gets a serene treatment from the quartet that transcends the norm. This old-school ballad begins with just organ and sax before Bailey’s drums slide in almost without notice. Stanley’s tone is like the finest of silk and there’s no showboating or overplaying in the vicinity as Jimmy backs him up exquisitely, taking advantage of the host of subtle variations in timbre that the B3 can offer. Turrentine’s saxophone flourish at the end is to die for. The record ends with a great version of Count Basie’s famous “One O’clock Jump.” Smith shifts his Hammond from cruise mode to a deep growl repeatedly and his pedal-generated “walking” bass line is sublime. The fact is that no one, absolutely no one knew how to manipulate the idiosyncrasies of the B3 like Jimmy did. He was a master.

Smith was one prolific dude, no doubt. He did 40 sessions for the Blue Note label in an eight year period from the late 50s to the mid 60s and this was but one of them. I don’t claim to have heard even a decent fraction of his output during his impressive career but I have yet to hear anything that I’d consider pedestrian. “Midnight Special” may not be the ultimate Jimmy Smith album but if you’re wanting to hear what made him so revered by keyboard players the world over then this album will educate you thoroughly in a little over a half an hour. Personally, I could listen to this kind of “cool” jazz every day.

js With so many Jimmy Smith compilations out there, on vinyl and CD, its hard to tell which might be the best one to go for. If you are looking at your vinyl options, then “Jimmy Smith’s Greatest Hits” (BST 89901) on Blue Note might be the best way to go. All of the tunes on here were recorded between 1957 and 1963, which many consider to be the peak of Smith’s studio recording career. During this time with Blue Note, Smith developed his signature style of virtuoso hard bop riffs played over simple blues changes. Later in his career, on other labels, Smith would veer off into soul jazz, pop, disco and other commercial concerns, but his recordings with Blue Note were always pure jazz blues, some of the most unpretentious and satisfying music you will find. Jimmy’s pioneering work on the B3 is so strong that it went on to influence thousands from Joey DeFrancesco to Jon Lord.

The choice of tunes on here is quite good and some all time favorites can be found including “The Serman” and “Midnight Special”. Other top cuts include the high speed bop dexterity of “The Champ” and the rockin old school RnB of “Prayer Meetin”. There are no duds on here. Blue Note issued another double vinyl Jimmy Smith best of in the mid-70s, but the choice of tunes is better on this earlier compilation, and the sound quality is better too.

js “The Further Adventures of Jimmy and Wes” marked the second time that the great Jimmy Smith and Wes Montgomery got together to make an album. The first one, “Jimmy and Wes, the Dynamic Duo”, was a high powered glitzy affair with lots of flashy big band orchestrations from Oliver Nelson. This second time around, things are toned down a bit with Nelson’s band appearing only on “Milestones”. The rest of the album presents the dynamic duo backed only by Grady Tate on drums and Ray Barretto on percussion for a more intimate smoky club type feel. Likewise, most of the music on ‘Further Adventures” is also a little more laid back too. Although this Creed Taylor production was made with some commercial potential for its time, this is hardly easy listening and both Jimmy and Wes turn in excellent solos on every tune.

These two virtuosos make a great contrast and compliment each other well. Wes knows all the expected jazz/blues clichés and likewise knows how to subvert them and turn them inside out. Much of his playing is about clever twists on soulful riffs. Jimmy on the other hand is given more to high speed runs and amazing dexterity. Although their individual playing on here holds its integrity throughout, the material they are given to work with is a mixed bag. “OGD” is a nice RnB/jazz groove number and so is “Mellow Mood” which, despite what the title would suggest, ends up being their most energetic number with the best solos on the album. “Maybe September” is a quiet mysterious ballad with odd tone colors from Smith and a great solo from Wes that pushes at the harmonic boundaries of the song. “Milestones” has the big band flash of their previous album, but rolls by rather quickly. The other two songs come across as commercial fluff and don’t give our dynamic duo much to work with.

Fans of Jimmy and Wes, as well as fans of 60s jazzy groove music, will probably find a lot to enjoy on here. Despite the slightly commercial leanings of this outing, the dynamic duo play like that they mean it from beginning to end.

js Released in 1970, MGM’s “Jimmy Smith Golden Archive Series” is an LP that features a collection of tunes Smith recorded in the mid 60s on the Verve label. Although much of Smith’s output over the years involved mixing blues with jazz, the resultant music he created covered a wide variety within that blues/jazz language. Whereas Jimmy’s classic Blue Note recordings were dry pure distilled blues-hard bop with no frills and usually recorded with small combos, his recordings with Verve had much more production, quite often a backing big band and included some pop tunes of the day along with the blues. The presence of some sugar coating and pop melodies though does not mean that these songs are overly commercial sellouts. This is still a solid jazz record and not near as commercial as some of the discofied music Smith and other B3 players would put out in the 70s and 80s.

The sound and production on this album is excellent and if you are looking for some mid-60s Jimmy Smith on vinyl, this collection goes for much cheaper than the albums these songs were originally pulled from. Most of the tunes on here are good, but one highlight, if you like good Hammond cheeze, is Jimmy’s melodic remake of the ultra-catchy pop classic “1-2-3”. One classic Smith Verve song that is missing from this collection is “The Cat”, one of his best known songs from that era.

dreadpirateroberts Go Jimmy! This is one of my all-time favourite live albums, and if you’re a fan who doesn’t own this one, then get the Verve reissue with its unedited tracks, it’s well worth it. ‘Root Down’ is a really energetic record that just storms along. Jimmy Smith is like a wizard and while his Hammond is the centrepiece throughout, he’s really egged on by the rest of the players, especially Humphrey’s kit and the guitar of Arthur Adams – which is a little more rock-influenced than you might expect from a Jimmy Smith record. In fact, this album really surprised me when I first heard it and just one listen to the power of ‘Sagg Shootin' His Arrow’ and I was ready for more.

While Smith gets more soulful and bluesy on ‘For Everyone Under the Sun’ or ‘After Hours’ and the Al Green cover, ‘Let’s Stay Together’ everyone seems inspired to keep wowing the audience. In fact, despite the fantastic performances on the title track and ‘Sagg Shootin’ His Arrow’ this version of the Green hit is just as enjoyable, with its touches of percussion, loving treatment of the melody and energetic soloing. ‘Root Down (And Get It)’ is another highlight and showcase for Jimmy’s more aggressive playing, like the closer, the hard funk fusion of ‘Slow Down Sagg.’

When comparing this album to the others in his discography, there’s a sense of it being a little special due to how different it is, and that sums up my feelings pretty well. While his soulful touch is still present, this one also shows a more fiery side to Smith’s playing too. Very highly recommended for Jimmy Smith and organ fans. And for the curious too.