Jimmy Smith and Me... — Vinyl Magic

People always ask me about this sound. This probably is best explained in my approach to the organ. While others think of the organ as a full orchestra, I think of it as a horn. I've always been an admirer of Charlie Parker. . .and I try to sound like him. I wanted that single-line sound like a trumpet, a tenor or an alto saxophone.
Jimmy Smith

Home Cookin’ (1959) Signed by Jimmy, Kenny BurrellKate’s Home Cooking, 126th Street near the Apollo Theaterphoto: Francis Wolff design: Reid Miles — ***Home Cookin’ (1959) Signed by Jimmy, Kenny Burrell***
***Kate’s Home Cooking,*** 126th Street near the Apollo Theater
photo: Francis Wolff design: Reid Miles

The Hammond has body. It's got depth -- and resonance. It's got clarity and quality, and you can feel it. It's not so much that you can hear it. It's the feeling that's important. You see, it's like a drummer. You don't want to hear him. You want to feel him. You can have the best drummer in the world, but if he's too loud, he's out of place. With the Hammond, you feel it in your bones.
Jimmy Smith

Crazy! Baby (1960) signed by Jimmymodel: Marion Barker car: Jaguar — ***Crazy! Baby (1960)*** signed by Jimmy
model: Marion Barker car: Jaguar

Jimmy Smith, the father of the Hammond B3 in jazz, influenced many players including Jimmy McGriff, Shirley Scott, Charles Earland, and Richard “Groove’ Holmes, all hailing from Philadelphia, the capitol of the Hammond B3 for sure. While there were jazz organists who preceded Jimmy, no one was as important. Kenny Burrell, guitar slinger and long time collaborator, said, "He had a real genius. If you think about the jazz greats on instruments -- Miles, Charlie Parker and Coltrane, Jimmy was in that league. There were jazz organists before him, but he put it on a level with those jazz greats."

Midnight Special (1961) signed by Jimmy, Kenny Burrell, Stanley Turrentine — ***Midnight Special (1961)*** signed by Jimmy, Kenny Burrell, Stanley Turrentine

Jimmy started playing piano as a child and fell in love with the sounds of the mighty Hammond in the early 1950s: "I was playing piano in small bands around Philadelphia and was so impressed with the incredible number and variety of sounds you can get with the Hammond that I couldn't rest until I had my own." So Jimmy bought one, moved it to a warehouse and began to learn everything about his instrument and woodshed in exile. When he emerged one year later, he transformed the Hammond organ with his extraordinary range, and his sounds were drenched in blues, grooves and soul.

Bashin’ The Unpredictable Jimmy Smith ((1961) signed by Jimmy — ***Bashin’ The Unpredictable Jimmy Smith ((1961)*** signed by Jimmy

The Hammond B3 uses a Leslie woofer (usually housed in a beautiful wood cabinet) that makes a distinctive whooshing flutter. Most Hammond B3 players use the foot pedals to supply the bass lines, so an electric Fender bass, or acoustic upright bass is unnecessary. There is no thicker, greasier, soulful music than a Hammond B3 cranked up, Leslie woofer whirring away in the hands of a master like Jimmy Smith or Jimmy McGriff. There is no finer sound in Jazz, Soul or Blues. In the immortal words of Parliament-Funkadelic maestro George Clinton (said in a different context), "It is one nation under a groove."

Prayer Meetin’ (1963) signed by Jimmy, Stanley Turrentine — ***Prayer Meetin’ (1963)*** signed by Jimmy, Stanley Turrentine

Jimmy was a prolific recording artist who released more than ninety albums during his career, including thirty five with Blue Note. He jammed with some of the most important jazz artists, including Art Blakey, Kenny Burrell, Lou Donaldson, Jackie McLean, Wes Montgomery and Stanley Turrentine. And his influence extends far beyond jazz. B.B. King, Dr. John and Etta James recorded with him late in his career, and Quincy Jones, acclaimed producer/arranger and an old friend, enlisted Jimmy to perform a solo on Michael Jackson's zillion selling hit single "Bad." As hip hop artists discovered his virtuosity and funky, dope beats, Jimmy was sampled by the Beastie Boys, De La Soul, Drake and Thievery Corporation, so his influence transcends genres and generations.

***Blue Bash! (1963) signed by Jimmy, Kenny Burrell***

I saw him many times at clubs in New York City and he always had a great band. In 2001, he was playing at The Iridium in New York City and showcasing his recent release Dot Com Blues. At the show, Jimmy was reunited with guitarist Russell Malone who started his impressive career with Jimmy in 1988, before his stints with Harry Connick Jr. and Diana Krall. The quartet was sizzling and Jimmy was playing tracks from this album like "8 Counts For Rita", "C.C. Rider" and Duke Ellington's "Mood Indigo."

The Dynamic Duo (1966) signed by Jimmy, Ray Barretto — ***The Dynamic Duo (1966)*** signed by Jimmy, Ray Barretto

After the show, I noticed Paul Shaffer, bandleader and organist of the David Letterman Show, had come by to pay his respects to the master of the Hammond B3. While Paul asked for Jimmy's absolution, I was waiting my turn and started chatting with Russell Malone. I told Russell how much I loved his noodle of "Wildwood Flower" which he dropped in as a break between songs. Russell smiled knowingly, "You must be a guitar player." "No, I don't play guitar, but I am a big Mother Maybelle Carter fan," I replied. Russell looked at me quizzically, not quite comprehending the incongruity of the Carter Family and country music matriarch Mother Maybelle with Jimmy's soulful jazz grease. It made perfect sense to me, after all, Russell was playing her song!

***Livin’ It Up (1968)*** signed by Jimmy, Tom Scott

As expansive as Jimmy was exploring sounds while performing, he was gruff and diffident off stage. Each time I met him, he signed the records, said a perfunctory "Thanks", and ushered me out of his dressing room. Quickly. He seemed dismissive and disinterested which is perhaps as it should be. I took no offense and harbored no resentment, a genius and giant of Jazz need not trifle with me, a mere mortal and dilettante.

Off The Top (1983) signed by Jimmy, Ron Carter, Grady Tate, Stanley Turrentine — ***Off The Top (1983)*** signed by Jimmy, Ron Carter, Grady Tate, Stanley Turrentine

In a 1964 promotional pamphlet for the Hammond Organ Company, Jimmy wrote: "Ever since I was a child, I wanted to play the better type of music, even classics. I haven't done anything like that, but I'm going to. I'm going to scare a lot of people with the incredible number of tones on the Hammond Organ before I die." And that's exactly what he did, he scared lots of people with his artistry and creativity.