One of the most consistent and most soulful of all jazz altoists, Hank Crawford sounds at his best when he has strong melodies to wrap his tone around, and when he can dig into the blues. Both aspects are true during this quartet outing which he co-leads with organist Jimmy McGriff. Crawford sounds particularly strong on "Jumpin' With Symphony Sid" and "Hank's Groove" and even if "Any Day Now" is a bit of a misfire, the interplay between the altoist and the organist (helped out by guitarist Jimmy Ponder's occasional solos and strong support from drummer Vince James) makes this an excellent soul jazz effort overall.
Ex-Nighthawks guitarist Jimmy Thackery has been playing his own brand of blues-tinged rock as a solo artist for some twenty years now (he left the Nighthawks in 1987) and there's no denying that he's a first-class guitarist with a sharp ear for tone and a knack for perfectly placed fills and evocative leads. His quavering, shaky voice is a problem, though, and while he conjures up the feel of an old veteran country singer on some of his slower numbers, his singing often lacks the punch, power and sass of his guitar playing on the more upbeat material. You don't buy a Jimmy Thackery album for the vocals, though, and fans of his crisp guitar work won't be disappointed at all with Solid Ice, which comes packed with wonderful riffs and multi-tracked leads…
On his eighth album, Jimmy Thackery churns out rugged, no-nonsense, authoritative rock, with a passion and commitment that seep through every track. Thackery's grinding guitar and growling voice pound out each song as if he's playing for thousands of people. He is produced once again by the experienced Jim Gaines who, through his work with Stevie Ray Vaughan, Albert Collins, Tommy Castro, and Santana, knows his way around a blues-rock record. The uncut, Stonesy chug of "Never Enough" and "Lovin' My Money" is offset by the harder-edged funk of "Grab the Rafters" and the easier jazz shuffle of "Bad News"…
One of Lonnie Smith's rarest albums – and one of the most obscure records on the landmark Kudu label! The set is one of Smith's most far-reaching from the 70s – a bit in the mode of his earlier records for Blue Note, but with a slightly sweeter quality that shows the shift to Kudu – where Lonnie's Hammond had lost none of its grooving power!
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliantly bubbling session from Hammond genius John Patton – and a set that serves as a real link between the gutbucket soul of his early years, and some of the fresher phrasing he was beginning to explore at Blue Note! Patton's lines on the keys are a wonderful thing to behold (and behear!) – as they're both rhythmic, but extremely fluid and exploratory – more conceived around some of the new ideas on tenor at the time, and pushing forward roughly into the same territory as Larry Young – but with more of Patton's rootsy soul still intact.
These sessions were recorded for Blue Note in 1961 and 1963. The first date features five cuts with Jack Mcduff on organ, Grant Green on guitar, and Joe Dukes on drums. The four remaining cuts were recorded two years later with John Patton on organ, Ben Dixon on drums, and the addition of Irvin Stokes on trumpet. This is a mainly mellow affair with six of the nine tracks exchanging the hard bop and soul-jazz of the times for ballads and slow blues. However, the occasional up-tempo funky surprise does pop up on "My Melancholy Baby" and the Donaldson originals "Hipty Hop" and "Soul Meetin'."
This CD reissue brings back an easy-listening set in which tenor saxophonist Stanley Turrentine teams up with his then-wife, organist Shirley Scott, in what was probably their last joint recording. The original LP program is joined by "Ain't No Way" from a slightly earlier date with similar personnel. Even on "Blowin' In the Wind," Turrentine's soulful solos uplift the material, while Scott offers light accompaniment and some gospellish ideas of her own; guitarist Jimmy Ponder also has some spots on the quintet set. ~ AllMusic