Описание CD

вернуться        закрыть окно  

 


  Исполнитель(и) :
   Smith, Jimmy  (Hammond)
◄◄◄        ►►►

  Наименование CD :
   Softly As A Summer Breeze



Год издания : 1958

Компания звукозаписи : Blue Note

Музыкальный стиль : Hard Bop, Soul Jazz

Время звучания : 49:35

Код CD : 0946 3 55523 2 4

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Organ)      

Originally recorded on February 26, 1958 (#1-6) at Manhattan Towers, New York City and on October 14, 1958 (#7-10) at the Van Gelder Studio, Hackensack, New Jersey

All transfers from analog to digital were made at 24-bit resolution

Tracks 1-6 originally issued in 1965 as BST 84200

Tracks 7-10 originally issued in 1959 on 45-1727 and 1728, bonus tracks not on original album

In all prior releases of this album, Horace Silver's "Home Cookin'" has been mislabeled as the Jimmy Smith original "One for Philly Joe"

Softly as a Summer Breeze, released in 1965, is one of Jimmy Smith's more obscure Blue Note recordings. The six-song trio program finds the organist joined by either guitarist Kenny Burrell and drummer Philly Joe Jones, or guitarist Eddie McFadden and drummer Donald Bailey. In other words, Smith recorded with two different rhythm sections in the same day. In the original liner notes, Leonard Feather makes it seem like a ballad-oriented set, but "Hackensack" really cooks, "Sometimes I'm Happy" struts, and "Home Cookin' (aka One for Philly Joe" (a familiar but unplaceable melody used for a later pop tune) has its exciting moments. What is unusual about the set is the absence of any blues. The strangest thing about this recording, done on February 26, 1965, is that only a day earlier, Smith led two burning sessions that vaulted material for his classic albums, The Sermon and House Party.

The CD version of Softly as a Summer Breeze is augmented by four other selections, two of which were originally released as 45s and are showcases for Bill Henderson's vocals. The singer is joined by Smith, guitarist Ray Crawford, and drummer Bailey. Henderson's debut, a version of "Senor Blues" with Horace Silver, had been a hit, but lightning did not strike twice, although the he would have a productive career during the next four decades. The tunes he sings here are standards and blues: "Willow Weep for Me," "Ain't No Use," "Angel Eyes," and Ray Charles' blues "Ain't That Love." Overall, this CD is not essential, but it does fill in a few gaps in both Smith's and Henderson's careers. The 2006 Rudy Van Gelder Edition contains the same four bonus tracks as the original CD but is completely remastered - the sound is superb. It contains the original liner notes, plus a new set written by Bob Blumenthal, who goes into the recording of the album historically and offers a fresh and fine critical perspective.

All Music Guide

========= from the cover ==========

The great men in any art are easily distinguishable from the ordinary mortals. They are the leaders; the others are followers.

Jimmy Smith has been a leader in more than one sense since September of 1955. That was the month when he formed his own trio; a few months later, when his first Blue Note album was released [A New Star - A New Sound, BLP 1512), "he became the leader not only of a trio, but of a whole movement. He set a new improvisational trend in electric organ styles, a new concept for small jazz combos, and a new policy for hundreds of cocktail lounges, bars, and grills all over the United States. If they couldn't afford Jimmy Smith and his guitarist and drummer, they would find some other organist and guitarist and drummer. It was the sincerest form of flattery, and of course it continues to this day.

Jimmy Smith. Two simple, straightahead names for a straight-ahead style. Somehow it seems totally appropriate; you would hardly expect the same sort of sounds from a man named, say, Horatio Seymour, or even Jymmy Smythe. And on these particular sides we are treated to a facet of Jimmy's personality that I have always found particularly attractive: the more relaxed groove, with long-established popular songs, especially ballads, prominent in the choice of material.

On four of the six tracks Jimmy is supported by Kenny Burrell and Philly Joe Jones, both old friends. Kenny has been a Smith studio mate on several previous occasions, notably for Blue Note albums House Party (4002), The Sermon (4011), and the memorable Midnight Special (4078).

Philly Joe, though never a member of the Smith Trio, has known him almost as far back as he can remember.

"I think the first time we met, I might have been about ten years old, and Jimmy was eight," says Philly. "We didn't go to the same school, but we were raised in the same wild Philadelphia neighborhood, and I remember him as a fine pianist.

"Although we didn't work together officially, he would drop by and sit in at clubs where I was working, or we would play together on after hours sessions.

"I first heard him trying out the organ a short time before he finally decided that this was his calling.

"Jimmy's never changed basically, though of course his control of the instrument is greater than ever. I guess you've heard about how every Christmas, if he can arrange to be in town, he'll play carols on the pipe organ at Wana-maker's in Philadelphia. He's a real organist, no jive artist; it doesn't have to be an electric organ for him - he can make anything holler!"

The predominant mood of the album is established on the opening track, "These Foolish Things." This is a British song first introduced as a pop hit in 1936 (imagine a ballad of this caliber being as high on the bestseller charts as a Beatles hit today!), and prominent very soon afterward in the US. Notice the smooth sustained notes established by Jimmy in the background as Kenny Burrell delineates the melody; also the gentle brush work by Philly behind Jimmy's solo in the second chorus.

"Hackensack" (also known in the 1940s as "Rifftide") is a Thelonious Monk riff built on the traditional "Lady Be Good" chord pattern. After the theme, there is a three-chorus illustration of Kenny's skill, fluency, and originality as a soloist. Jimmy takes over for a carefully built excursion. Note the minuet-like humorous quote in the release of his first chorus; the gradually mounting intensity in the second, the implacable swing of the third, and the great contribution made by Philly to the overall excitement in the fourth. A couple of choruses of four-bar exchanges by Philly, alternately with Kenny and Jimmy, precedes the reprise of the theme.

"It Could Happen to You" is one of the early and very successful ballads by Johnny Burke and Jimmy Van Heusen, dating back to 1944. Again Kenny takes over the spotlight first to outline the melody, but this time Jimmy takes over from him at the halfway mark. Notice how closely he adheres to the theme for his first 16 bars and how smoothly he makes a transition into free blowing on the next chorus, with Kenny feeding soft, supple chords. A zephyr-like Burrell blowing sequence follows.

"Sometimes I'm Happy" is a Vincent Youmans song of 1925 (the same year Jimmy was born). It has been used as a vehicle by jazzmen throughout all of its 40 years as a popular standard. The tempo here is moderate, but not fast enough to preclude a little double-timing from Philly Joe when it's called for at a climactic point during Jimmy's solo.

"Someone to Watch Over Me" is a Gershwin song introduced in 1926. On this and the next track, the trio assumes a different personnel with the same instrumentation, bringing back two men who earned a substantial following as regular members of Jimmy's group some time back - guitarist Eddie McFadden and drummer Donald Bailey. Jimmy's support under Eddie's playing of the theme reminds me of the phrase "organ harmony," which use to be applied to sax section backings for a trumpet solo and other such devices in the swing bands. In this instance, of course, ersatz "organ harmony" is unnecessary as Jimmy provides the real thing.

In "One for Philly Joe," an original instrumental by Jimmy, the incredibly nimble footwork and the contagious swing of his ad lib melodic lines offer yet another reminder of the qualities that established him as boss man of all the organists. It's not a spectacularly fast piece, but it's Jimmy all the way through and he never lets the interest flag for a moment.

Reminiscing with Philly Joe the other day about the phenomenon of Jimmy Smith, I commented that few musicians of our time have had a more profound influence. Philly answered with an apt remark.

"Don't just say he was an influence," he advised me. "Remind people of something more important - he was an inspiration."

Here, in these six engaging Smith performances, you will find renewed evidence of just what Philly meant. Jimmy Smith will always be an inspiration to all of us, whether he blows like a hurricane or comes on softly as a summer breeze.

- Leonard Feather


  Соисполнители :

Bill Henderson (Vocals)
Donald Bailey (Drums)
Eddie McFadden (Guitar)
Kenny Burrell (Guitar)
Philly Joe Jones (Drums)
Ray Crawford (Guitar)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 These Foolish Things     T       0:05:27 Link, Marvell, Strachey
   2 Hackensack         0:05:58 Monk
   3 It Could Happen To You     T       0:06:16 Burke, Heusen, VanHeusen
   4 Sometimes I'm Happy     T       0:08:21 Caesar, Youman
   5 Someone To Watch Over Me     T       0:06:30 Gershwin, Gershwin
   6 Home Cookin' (aka One For Philly Joe)         0:04:47 Silver
   7 Willow Weep For Me     T       0:03:24 Ronnell
   8 Ain't No Use         0:02:40 Kirkland, Wyche
   9 Angel Eyes     T       0:03:26 Brent, Dennis, Dennis
   10 Ain't That Love         0:02:46 Charles

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

вернуться        закрыть окно

Последние изменения в документе сделаны 20/10/2016 22:10:39

Главная страница коллекции

Collection main page