BLP 1551

 Jimmy Smith At The Organ Volume 1

Released - May 1957

Recording and Session Information

Manhattan Towers, NYC, February 12, 1957
Lou Donaldson, alto sax; Jimmy Smith, organ.

tk.2 Summertime

Lou Donaldson, alto sax #1,3; Jimmy Smith, organ; Kenny Burrell, guitar; Art Blakey, drums.

tk.10 Yardbird Suite
tk.11 There's A Small Hotel
tk.12 All Day Long

Track Listing

Side One
Title	Author	Recording Date
Summertime	George Gershwin	12/02/1957
There's A Small Hotel	Rodgers, Hart	12/02/1957
Side Two
All Day Long	Kenny Burrell	12/02/1957
Yardbird Suite	Charlie Parker	12/02/1957

Credits

Cover Photo:	FRANCIS WOLFF
Cover Design:	REID MILES
Engineer:	RUDY VAN GELDER
Producer:	ALFRED LION
Liner Notes:	ROBERT LEVIN

Liner Notes

SUMMERTIME:
Jimmy Smith and Lou Donaldson.

THERE'S A SMALL HOTEL:
Jimmy Smith, Kenny Burrell, Art Blakey.

ALL DAY LONG, YARDBIRD SUITE, BILLIE'S BOUNCE:
Jimmy Smith, Lou Donaldson, Kenny Burrell, Art Blakey.

PLUM NELLIE:
Jimmy Smith, Lou Donaldson, Eddie McFadden, Donald Bailey.

THE DUEL:
Jimmy Smith and Art Blakey.

BUNS A PLENTY:
Jimmy Smith, Eddie McFadden, Donald Bailey.

THE jazz world is in a chronic state of confusion. Young musicians, aching with the desire to say something new and "different", are forever going off in scores of directions, hoping to fulfill themselves artistically, draw plaudits from yawning critics and maybe "pick up some loot" in the bargain. Any direction is valid if it is intelligent and sincere but as to its ultimate importance, well, that's something else. Many progressive musicians have lengthened the form but, in the process, have lost the concept of swinging. What they play and write may be music but is it jazz?

Those contemporary musicians who, in my opinion, may be classified as greats; Sonny Rollins, Miles Davis, Thelonious Monk, Milt Jackson, and a few others, all play with a modern conception but never lose sight of their origins. Spirituals, gospels, blues (no matter how latent they may be at times) are always an integral part of their music - the underlying, basic factor. These men are direct descendants of the exponents of the above musical forms. They have a profound knowledge of, and respect for the history of their art. They know — feel intrinsically what's "happening" and apply these qualities, perhaps without realizing it.

Jimmy Smith is such a musician.

He is definitely on his way to becoming a "great." A swinging, highly percussive organist, firmly entrenched in jazz tradition, Jimmy projects an earthy warmth, through a bop conception, that is analogous to the blues shouters of bygone days. He is an exciting, dynamic performer, capable of playing ballads and uptempo numbers with consummate skill (certainly unequalled skill on his instrument) and has already (he's been on the "big-time' scene only a year) received much praise from what are usually caustic critics, musicians and fans.

Only the late Fats Waller and Wild Bill Davis had achieved any real prominence as jazz organists until Jimmy made his spectacular debut last year (1956) at the Cafe Bohemia in New York's Greenwich Village. Those in the audience that first night could not help but remark in endless superlatives about his striking originality and brilliant technique.

Out of Norristown, Pennsylvania, Jimmy's professional background consists, in the main, of R&B gigs that, dull and inartistic as they may be, no doubt had much to do with the development of his inherent "blues feeling."

These are Jimmy's eighth and ninth albums for Blue Note, bur he remains one of the few "new" musicians who has not been overrecorded.

BLP 1551

A pensive, melancholy mood is affected with George Gershwin's lovely ballad, Summertime, which has Lou Donaldson on alto sax along with Jimmy and no rhythm section (none is needed). Donaldson, one of the best but most underrated and neglected musicians ever, solos twice (opening and closing the piece) with long, flowing, graceful lines and sticks close to the melody. Jimmy's backing is appropriately delicate and his solo is sensitive and moving.

There's A Small Hotel features Jimmy with the youthful, upcoming guitarist, Kenny Burrell and the rocking Art Blakey on drums. The standard is taken at a medium pace. Burrell leading Off with a lightly swinging solo is followed by a long, driving organ excursion, then Kenny returns to exchange fours with Smith and the two are joined in the spotlight some bars later by Blakey who adds a robust solo after which Jimmy and Kenny restate the original melody and close.

All Day Long, a stimulating minor blues by Burrell, has the same personnel as Hotel with Donaldson (in a warm, Parkerish groove) added. Lou, Kenny and Jimmy wail at length before the tune fades out as the boys make their slow, sad retreat from "Funksville."

The same group brightens sharply with Charlie Parker's catchy Yardbird Suite. Everyone plays with a delightful "this is a ball" feeling and Jimmy proves here just how hard an organ can swing. Blakey's "fill ins" add much to the rhythmic forcefulness of Jimmy's solo.

BLP 1552

Plum Nellie, a Smith original, is a "way down" blues with Donaldson and the other two-thirds of Jimmy's current trio; Eddie McFadden, guitar and Donald Bailey, drums. This extended excursion into funk is highlighted by Jimmy's "Flight to Kansas City" and McFadden's brooding "blue guitar". Lou's stint is fleet and soulful.

Kenny, Lou, Jimmy and Art romp through Charlie Parker's Billie's Bounce with an exhilarating group of solos that will keep your foot tapping long after the tune has ended. Jimmy utilizes the surprising capacity of the organ to its fullest, swinging with the power and virility of a big band.

The Duel, an original, is between Art and Jimmy with Jimmy's solo one of his best on record. He builds, emotionally, to fantastic proportions, expanding vertically and horizontally with a frenetic intensity. Blakey's "jungle drums" are in keeping with the hot, frenzied mood.

The Jimmy Smith trio (McFadden and Bailey) are heard on Buns Plenty, a breezy, middletempo blues original by Smith.

Jimmy has come far within the past year and will go farther. He is a still growing talent and a welcome addition to the "East Coast" school.

These sides were cut at several relaxed, informal, "groovy" (as Alfred Lion likes to call them) sessions that had everyone in fine spirits and exceptional form.

Listen! The albums tell the story. They belong in every "hip" collection.

— ROBERT LEVIN

Photos by FRANCIS WOLFF
Cover Design by REID MILES
Recording by RUDY VAN GELDER