Due to the strong lineup and the basic but perfectly suitable material, this Jimmy McGriff CD is well worth picking up. The groovin' organist teams up with David "Fathead" Newman (heard on alto, tenor and flute), Rusty Bryant (doubling on tenor and alto), either Mel Brown or Wayne Boyd on guitar, and drummer Bernard "Pretty" Purdie. Basic originals alternate with such standbys as "I'm Getting Sentimental over You" and "Georgia on My Mind," with everyone playing up to their potential. A fun and swinging session.
Between 1976 and 1979, Jimmy McGriff was often featured in the disco-style productions of Groove Merchant house arranger Brad Baker. The records usually surrounded the great organist with a huge army of studio musicians, big horn sections, string parts and often heard McGriff playing keyboards other than organ. THE MEAN MACHINE, from 1976, was the first of these productions and McGriff doesn't even play organ here.
Jimmy McGriff's B-3 sound was always rooted in blues and gospel, and his soloing could be very smooth and polished. But every once in a while, he had to break out of his own soul box and tear it up on a session. The Worm, issued on Solid State Records in 1968, is the very first place he did. This is the first true, all-out funky burner from McGriff, and it sounds very different from most of the other titles on his shelf. Having a band like this helps: trumpeter Blue Mitchell, tenor saxophonist Fats Theus (with Bob Ashton on baritone and Danny Turner on alto), alternating drummers Mel Lewis and Grady Tate, bassist Bob Bushnell, and guitarist Thornel Schwartz were all in their prime in 1968. The title track, written by McGriff, Theus, and producer Sonny Lester, sets the tone for the whole platter.
Losing Wolf, aside from in the final reprise of "Lucy," but otherwise making no changes in the lineup, the Seeds followed up Tender Prey with the equally brilliant but generally calmer Good Son. At the time of its release, there were more than a few comments that Cave had somehow softened or sold out, given how he was more intent on exploring his dark, cabaret pop stylings than his thrashy, explosive side…
Digipak edition of this 1972 album from the Jazz great featuring five bonus tracks taken from the album Love And Understanding (1973). Although Jimmy Heath released an album per year between 1959 and 1964, he would undergo an eight-year recording hiatus as a leader before returning to the studios in 1972. This CD contains the first album Heath recorded after his break. The tracks have a cohesive group sound and showcase the individuality and force of Jimmy's compositions coupled with his instrumental brilliance as a flautist and soprano and tenor saxophonist.
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".