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No jazz artist popularized the Hammond B-3 organ more than Jimmy Smith, and this four-disc set documents some of his finest recorded moments. The collection primarily features sessions from the late 1950s and early 1960s and does an excellent job of representing Smith's wide musical range.
"Groovy Date" is a hard-bop tune featuring stalwarts of that style--drummer Art Blakey, tenor saxophonist Hank Mobley, and trumpeter Donald Byrd. Clocking in at 13 minutes, the song presents each member of the ensemble taking extended solos, and these improvisations develop intriguingly over the course of several choruses. Horace Silver's "The Preacher," on the other hand, is a blues- and gospel-oriented number, with Smith's solo so relaxed that it falls behind the beat. "Back at the Chicken Shack" is a classic Smith composition that epitomizes his approach to soul jazz. Here, Smith's expressive blues riffs are supported by the lolling groove of drummer Donald Bailey and the cool-toned tenor-sax stylings of Stanley Turrentine. For an in-depth presentation of Smith's key recordings, RETROSPECTIVE can't be beat.
Liner Note Author: Bob Blumenthal.
Recording information: Manhattan Towers, New York, NY (02/18/1956-01/03/1986); Small's Paradise, New York, NY (02/18/1956-01/03/1986); The Baby Grand, Wilmington, DE (02/18/1956-01/03/1986); Van Gelder Studios, Hackensack, NJ (02/18/1956-01/03/1986).
Photographer: Francis Wolff.
Personnel: Jimmy Smith (organ); Jimmy Smith (Hammond b-3 organ); Stanley Turrentine (tenor saxophone); Lee Morgan , Lee Morgan Quintet , Blue Mitchell (trumpet); Bay Perry, Philly Joe Jones, Bay Perry (drums); Eddie McFadden, Grant Green, Kenny Burrell, Thornel Schwartz, Quentin Warren (guitar); George Coleman, Jackie McLean, Lou Donaldson (alto saxophone); Hank Mobley, Ike Quebec, Tina Brooks, Percy France (tenor saxophone); Donald Byrd (trumpet); Curtis Fuller (trombone); Donald Bailey , Grady Tate, Art Blakey (drums); Big John Patton (tambourine); Crusher Bennett (percussion).
Audio Remasterer: Ron McMaster.
Jimmy Smith Retrospective Songs Retrospective Review
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Purchase Retrospective CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
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In the 1960s, trumpeter Miles Davis became a star outside of the jazz world, first with what history refers to as "the Quintet" with Wayne Shorter and Herbie Hancock, then with his highly influential post-BITCHES BREW electric bands. But there was a "transitional" period, after John Coltrane left Davis's employ and before the Shorter/Hancock era, which the SEVEN STEPS box set based around the SEVEN STEPS TO HEAVEN album documents in its entirety, often in a live context.
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