I got to see Jimmy perform live in Columbus, Ohio in the 1980s & 90s. He came to our annual Jazz Festival along the Scioto River, in downtown Columbus, Ohio. He performed from a simple outdoors, stage, on a grassy knoll, where his adoring fans could stand & sit within feet of him. I'd become a fan of his in 1970s, listening to him on albums. It was the thrill of my lifetime to see him and stand so close to where he was making his magic. I believe he performed on three separate occasions. It was such a cool experience.
Yeah his solo was godawful. Jimmy was looking at him like "What the hell?" Honestly one of the worst guitar solos in history. But I guess you gotta give it to him that he committed to it. I think he was even in the wrong key.
@@ultraparadoxical7610 Maybe he was going for something that just didn't work out, which I'll give you, happens in improvisation sometimes. It starts out with a run of fourths down a whole tone scale, and doesn't get any better from there. No establishment of the key center. He uses the Major 7th degree a lot (on an F blues) which, is ok I guess, but not really. The blues is supposed to use what are known as blue notes, and the major 7th of F isn't one of those. That's not to say that maj 7ths can't be used, it's just that a preponderance of them makes it not so much the blues anymore. I'll just point to 1:11 Jimmy gives him a look like, "um, you know we're in F right"? and then, at 2:08 "maybe his amp broken". I know because I've given people looks like that.
Guitar solo was nice. Jimmy was trying to reharmonize for some strange reason but when he came away from It , it was all good again. The Guitar was on top of the bass line.
Hell YEAH!!! This is the kinda jazz i cut my teeth on when i was a toddler! I'd sit on the floor at band practice and watch my Grandfather play his Hammond B-3 organ EXACTLY like this! He and his band mates would have a jam session, and I got to hear music from Jimmy Smith, Jack McDuff , & Jimmy McGriff. . . . " Uh huh, whatcha know 'bout dat Old School?"
i worked with jimmy off-and'-on for 10 yrs. very hip solos by mcfadden and jimmy .drummer is grooving them to death. how could anybody give this a thumbs down? can't be 42 ignoramuses out there. mat marucci
You were fortunate to have that opportunity! Jimmy's work is my reference standard by which I measure all other keyboard players against. Juimmy's work was exquisite and his band members as well.
This trio is BRILLIANT ! ! ! I found them on my phone by mistake. They are UNBELIEVABLE great. I can't stop listening. Finding them has been truly the best part of my day.
You might possibly also like another great Hammond organ player, her name is Barbara Dennerlein. She played with various musicians, and in some constellations sounds similar to the Jimmy Smith Trio. 😉
Jimmy Smith: Its incredible hold Jimmy can hold that right-thumb and the other 4 fingers can soul-fully run up and and down the keyboard. "He makes that organ talk while still running the bass with the left hand. Nothing but "soul comes out of the organist. Incredible Jimmy,...preach it on the organ. "🎹🎹🎹🎶🎶
Wow...apparently I haven't heard enough Jimmy. Always thought of him as more of a bluesy/taste player, but man he is taking the harmony here to another level.
Hammond was the father of that fat, Hammond B3 sound ... But Jimmy Smith was the rich, talented uncle who made that sound popular worldwide. His sound and his smile while he played is unforgettable to many of us boomers! :) We'll always love his sound.
Master picker. When he is on the trail fast or slow, the earth stops rotating for a while. Seek out his iconically titled Album 'Organ Grinder' and the heavens come down! 😎👍✌️
Starting at 11:00 he keeps his right thumb firmly planted on G for a full 2 minutes, yet his 9 other fingers - and two feet! - improvise right over that thumb as if it weren't even there!
@@donroberts1420 Jimmy was known to use Bob Cranshaw or Ron Carter on upright bass on occasion but the majority of the time he did 100% of the bass with his left foot
@@waltsimsjr4652 Cheers M8. Its been a great myth about Jazz Organists playing bass with feet on pedals. The truth of the matter is that when organists play bass part its done with left hand. A certain amount of tapping takes place with left foot but for the most part its manual left hand. Thats the case with almost all jazz organists with 2 exceptions. 1/ When Jimmy(and some others) played a ballad he would play bass on the pedals, block chords in the left hand on upper manual, and squable with his right on on the lower manual which has no percussion on a B3.... and 2/Barbara Dennelein who cut her teeth on the bass pedals of pipe organs as a child. She can play in 4 at great tempo's but her bass lines are pretty much straight up and straight back down with small steps of intonation all the way. There may be others who do what Barbara does but I've never heard one yet. I have heard some Gospel organists do complex bass parts but not walking like the jazzers, Jimmy, Joey, Jack McDuff etc. I think there is no one to top Barbara at playing fast tempo's in 4 on bass pedals. Check this out ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fa-nKS89ATI.html
@@donroberts1420 Foot pedals and bass clef notes played on an organ or piano by a left hand, will never equal the musical or spiritual quality of a double bass holding down the foundation of a composition. Granted, they can produce a sound, but they will never perform the same music that comes forth from the skillful hands of a trained and educated bassist in the ensemble!
Does anyone know the name of the guitarist who played with his back to the audience. I saw him with Jimmy around 1966 in Bristol UK. He was seated, with his back to the audience throughout the whole concert, Pakistani or Indian I think.
Fucking Genius, with a capital G! And no, I won't say excuse my language, because it's for pieces of brill like this one right there which that word was invented!!
Jimmy Smith and Richard Groove Holmes were rivals on the organ. Jimmy had more backing from record companies, so he outlasted Richard Groove Holmes. I think Richard was a better organ player.
As off-the-top improv, it was in the moment of the time and should be taken that way. I find the wandering tonality and keys, especially the fourthy chords, uncharacteristic for Jimmy. Jimmy usually just beeped out these charming shell type voicings whenever he comped. Not on this one. Jimmy has a more modal, sustained sound by the late 60s, which is when this recording was made. It's a harder, more tortured sound, but of course brilliant per the great artist he was. It's on par with his searching artistic mind.
