Dr. Lonnie Smith - The Art Of Organizing

Styles: Hammond b-3 organ
Year: 2009
File: MP3@320K/s
Time: 64:31
Size: 148,0 MB
Art: Front

( 8:42)  1. When We Kissed At Night
( 7:20)  2. My Little Suede Shoes
( 9:20)  3. This Ain't Right
( 5:14)  4. Polka Dots And Moonbeams
( 7:44)  5. Softly As In A Morning Sunrise
( 8:21)  6. Turning Point
(11:11)  7. Night Song
( 6:36)  8. Too Damn Hot

Brace yourselves for The Art of Organizing, the very first appearance on Criss Cross by organ master Dr. Lonnie Smith. Guitarist Peter Bernstein and Billy Drummond, one of the more prolific and sensitive drummers of our time, completes the lineup. From his early days with George Benson and Lou Donaldson to the present day, Dr. Lonnie Smith has always been a driving force in jazz. The Art of Organizing, featuring Smith and trio on standards and a batch of strong new originals, is another contribution that will remain timeless. ~ Editorial Reviews  http://www.amazon.com/The-Organizing-Lonnie-Smith-Trio/dp/B002G5FLSS

Personnel: Dr. Lonnie Smith (Hammond b-3 organ); Peter Bernstein (guitar); Billy Drummond (drums).

The Art Of Organizing

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Ed Cherry Quartet - The Spirits Speak

Styles: Guitar Jazz, Straight-ahead/Mainstream 
Year: 2001
File: MP3@320K/s
Time: 58:41
Size: 135,0 MB
Art: Front

(7:36)  1. Little Girl, Big Girl
(5:46)  2. The Spirits Speak
(7:50)  3. Top Hat
(9:05)  4. Woo! / Sharock
(7:04)  5. Peace
(5:40)  6. Joe's Thing
(7:19)  7. Lennox Ave, 1 A.M.
(8:18)  8. Share a Life

It’s really a shame that so few jazz followers are aware of the talents of guitarist Ed Cherry. He’s been on the scene for quite some tine now, playing gigs with such name artists as Sam Rivers, Paquito D’Rivera, and Tim Hardin, not to mention the fourteen years he spent as a sideman with the legendary Dizzy Gillespie. The Spirits Speak is only the third set as a leader to be cut by the 47-year-old guitarist since Gillespie’s death in 1993. Unique too in the fact that it marks the first time that Cherry is leading an organ combo for his own purposes, let us not forget that he excels in this format as evidenced by two current Big John Patton discs featuring the guitarist (namely Minor Swing and This One’s for Ja, both for DIW/Disc Union). 

You won’t get an argument from anyone when it comes to the company that Cherry keeps. Organist Lonnie Smith and drummer Nasheet Waits hold down the fort, with saxophonist Joe Ford fronting things as a lead voice. There’s really little need for going into detail about individual tracks. With a large number of Cherry’s originals making up the program, the moods are varied and inspired. Inclined to make some sort of recommendation, a clear highlight has to be the electric twang of “Woo!/Sharrock,” where Cherry plays homage to the late Sonny Sharrock. Normally a mellower player with a single note style that recalls the approach of Grant Green, Cherry turns up the distortion on this one and rocks out. Vocalist Laird Jackson appears on a version of Horace Silver’s “Peace” and her own “Share a Life.” While she doesn’t embarrass herself, she also doesn’t necessarily present anything of any great significance to the proceedings. That reservation aside, Cherry adds yet another solid effort to his meager discography and makes another bid for wider recognition.~C.Andrew Hovan https://www.allaboutjazz.com/the-spirits-speak-ed-cherry-review-by-c-andrew-hovan.php

Personnel: Ed Cherry (guitar), Joe Ford (saxophones), Lonnie Smith (organ), Nasheet Waits (drums), Laird Jackson (vocals on 4 & 8 only)

The Spirits Speak

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Dr. Lonnie Smith - Breathe

Styles: Hammond b3 Organ
File: MP3@320K/s
Time: 63:52
Size: 148,4 MB
Art: Front

( 7:45) 1. Why Can't We Live Together
( 7:25) 2. Bright Eyes - Live
( 7:33) 3. Too Damn Hot - Live
( 9:44) 4. Track 9 - Live
(12:04) 5. World Weeps - Live
( 8:20) 6. Pilgrimage - Live
( 4:22) 7. Epistrophy - Live
( 6:37) 8. Sunshine Superman

A new release by the iconic 78 year old New York organist Dr Lonnie Smith is always keenly anticipated, and this his third since returning to the Blue Note label after nearly 50 years absence is no exception. During his lengthy career the Hammond B 3 specialist has recorded thirty albums as a leader and appeared on very many other recordings, notably with the likes of saxophonist Lou Donaldson, guitarist George Benson and bassist Red Holloway. Now a N.E.A. Jazz Master, he was voted Organist of the year no less than nine times by The Jazz Journalists Association since 2003. A documentary film showcasing the talents of this remarkable and forward thinking musician entitled "Dr B3 The Soul Of The Music" by the award winning Canadian film maker Ed Barreveld was nearing completion as of December last year.

Six of the eight tracks on this almost one hour long, highly entertaining album were recorded during the organists 75th birthday celebrations at The Jazz Standard club in New York City during 2017. That session forms the centre piece of the recording but is top and tailed by two studio takes of the organ, guitar and drums trio with guest vocalist Iggy Pop. Jazz purists should have no concern about the presence of this 73 year old artist from Michigan once known as "The Godfather of Punk" for his time with "The Stooges" and his work with the late great David Bowie, as he fits perfectly into the context of the recording with minimalistic and subdued renderings of the Timmy Thomas tune Why Can't We Live Together and Donovan's 1966 hit Sunshine Superman. It is however the club session that really strikes home, most of the tunes are from the leaders pen and show great originality in both their concepts and execution. The doctor's organ sound is almost always understated and full of intriguing subtle harmonies, the one exception being on the more up-beat Bright Eyes where overtones of the ever popular Jimmy Smith are evident, but even this is somewhat a slow burner and contains one of a number of telling solo passages during the set from the North Carolinian saxophonist John Ellis.

All the numbers have an inbuilt delicacy about them without ever becoming trite or sentimental in any way. A good example of this is the rather strangely titled Track 9, which although intricate in parts has a strong searching quality about it and brings a stratospheric interlude from trumpet man Sean Jones to the fore alongside a telling contribution from the baritone of ex Roy Hargrove Big Band saxophonist Jason Marshall. A key component of the whole ambient sound of the set is the performance throughout of guitarist Jonathan Kreisberg who has now been in the band for over eleven years and supplies both superb single note runs as well as having a strong affinity when exchanging ideas with the leader. This is particularly so when the band reverts to the trio mode, such as on the twelve minute World Weeps, a truly stunning and sensitive piece to begin with that builds layers of tension as the tempo and volume increases to an almost angry level as it progresses before once more dropping down into more calmer waters. Proceedings are further enhanced on one track by the presence of the mezzo soprano Alicia Olatuja, a vocalist more than comfortable in a wide range of settings from The Brooklyn Tabernacle Choir to The Julliard Jazz Ensemble, who engrained her reputation considerably with a well publicised performance at Barack Obama's second presidential inauguration. Here she quite obviously brings the house down on Meryl Konenigsberg's poignant lyrics to Lonnie Smiths excellent composition Pilgrimage. In summary this is a very fine album, not just for the performances of the main soloists but also for the tight ensemble sound when the band are in septet mode and the stunning but sensitive drumming of Jonathan Blake from first to last. Although it is only March it is very likely that this disc will at least be pencilled in on some peoples top ten jazz albums of 2021. by Jim Burlong https://www.jazzviews.net/dr-lonnie-smith---breathe.html

Personnel: Dr Lonnie Smith ( Hammond B3 Organ), Sean Jones (trumpet), Robin Eubanks (trombone), John Ellis (tenor), Jason Marshall ( baritone), Jonathan Kreisberg (guitar), Johnathan Blake (drums), Guest vocalists, Iggy Pop & Alicia Olatuja.

Breathe

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Dr. Lonnie Smith - Drives

Styles: Jazz, Post Bop
Year: 1970
File: MP3@320K/s
Time: 36:20
Size: 83,8 MB
Art: Front

( 5:41)  1. Twenty-Five Miles
( 7:32)  2. Spinning Wheel
( 5:48)  3. Seven Steps To Heaven
( 6:29)  4. Psychedelic Pi
(10:49)  5. Who's Afraid Of Virginia Wolf?

Lonnie Smith had the raw skills, imagination, and versatility to play burning originals, bluesy covers of R&B and pop, or skillful adaptations of conventional jazz pieces and show tunes. Why he never established himself as a consistent performer remains a mystery, but this 1970 reissue shows why he excited so many people during his rise. Smith's solos on "Spinning Wheel" and his own composition, "Psychedelic PI," are fleet and furious, boosting the songs from interesting to arresting. He's also impressive on "Seven Steps to Heaven," while the array of phrases, rhythms, and voicings on "Who's Afraid of Virginia Woolf?" demonstrate a mastery of the organ's pedals and keys rivaling that of the instrument's king, Jimmy Smith. ~ Ron Wynn https://www.allmusic.com/album/drives-mw0000112493

Personnel: Lonnie Smith - organ; Dave Hubbard - tenor saxophone; Ronnie Cuber - baritone saxophone; Larry McGee - guitar; Joe Dukes - drums

Drives

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Various - Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1

Bitrate: MP3@320K/s
Time: 68:21
Size: 156.5 MB
Styles: Soul jazz
Year: 2012
Art: Front

[6:48] 1. B. Baker Chocolate Company - Snowblower
[5:01] 2. Dr. Lonnie Smith - Dreamer
[5:40] 3. Dr. Lonnie Smith - Carousel
[6:38] 4. Joe Thomas - Plato's Retreat
[5:47] 5. Joe Thomas - Masada
[4:38] 6. Joe Thomas - Poinciana
[4:44] 7. Joe Thomas - Gemini Flyin' High
[2:32] 8. O'Donel Levy - Where Is The Love
[4:40] 9. O'Donel Levy - People Make The World Go Round
[3:42] 10. O'Donel Levy - I Want To Make It With You
[6:04] 11. Dr. Lonnie Smith - Keep On Lovin
[6:07] 12. Dr. Lonnie Smith - Sweet Honey Wine
[5:54] 13. Dr. Lonnie Smith - Journey To Within

Soul-Jazz, which was the most popular jazz style of the 1960s, differs from bebop and hard bop (from which it originally developed) in that the emphasis is on the rhythmic groove. Although soloists follow the chords as in bop, the basslines (often played by an organist if not a string bassist) dance rather than stick strictly to a four-to-the bar walking pattern. The musicians build their accompaniment around the bassline and, although there are often strong melodies, it is the catchiness of the groove and the amount of heat generated by the soloists that determine whether the performance is successful. Soul-jazz's roots trace back to pianist Horace Silver, whose funky style infused bop with the influence of church and gospel music, along with the blues. Other pianists who followed and used similar approaches were Bobby Timmons, Junior Mance, Les McCann, Gene Harris (with his Three Sounds), and Ramsey Lewis. With the emergence of organist Jimmy Smith in 1956 (who has dominated his instrument ever since), soul-jazz organ combos (usually also including a tenor, guitarist, drummer, and an occasional bassist) caught on, and soulful players became stars, including Brother Jack McDuff, Shirley Scott, Jimmy McGriff, Charles Earland, and Richard "Groove" Holmes, along with such other musicians as guitarists Grant Green, George Benson and Kenny Burrell; tenors Stanley Turrentine, Willis "Gator" Jackson, Eddie "Lockjaw" Davis, David "Fathead" Newman, Gene "Jug" Ammons, Houston Person, Jimmy Forrest, King Curtis, Red Holloway, and Eddie Harris; and altoist Hank Crawford. Despite its eclipse by fusion and synthesizers in the 1970s, soul-jazz has stayed alive and made a healthy comeback in recent years. ~AMG

Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1 mc
Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1 zippy

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Dr.Lonnie Smith Trio - Purple Haze

Styles: Piano, Post Bop
Year: 1994
File: MP3@320K/s
Time: 56:21
Size: 129,8 MB
Art: Front

(12:23)  1. Voodoo Chile
( 9:49)  2. Up From The Skies
(16:57)  3. Gypsy Eyes
(17:10)  4. Purple Haze - Star Spangled Banner

In the early '70s, Lonnie Smith's recordings frequently exhibited a debt to Jimi Hendrix's groundbreaking fusions, but he waited until 1995 to release Foxy Lady, a full-fledged tribute to the innovative guitarist. Foxy Lady was so successful that Smith decided to make another Hendrix album, again with John Abercrombie and Marvin "Smitty" Smith. Purple Haze is as entertaining as Foxy Lady it's truly remarkable to hear how these blues-rockers can open up into soul-jazz numbers tinged with free jazz influences and confirms not only Hendrix's composing talents, but also Smith's vision. ~ Leo Stanley https://www.allmusic.com/album/purple-haze-a-tribute-to-jimi-hendrix-mw0000180872

Personnel: Lonnie Smith (organ); John Abercrombie (guitar); Marvin "Smitty" Smith (drums)

Purple Haze

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Stanley Turrentine - Sugar

Bitrate: MP3@320K/s
Time: 59:04
Size: 135.2 MB
Styles: Soul-Jazz, Post Bop, Modal
Year: 1971/2001
Art: Front

[10:03] 1. Sugar
[10:45] 2. Sunshine Alley
[14:10] 3. Impressions
[ 9:36] 4. Gibraltar
[14:28] 5. Sugar (Live)

Bass – Ron Carter; Congas – Richard "Pablo" Landrum; Drums – Billy Kaye; Electric Piano – Lonnie L. Smith, Jr.; Guitar – George Benson; Organ – Butch Cornell; Tenor Saxophone – Stanley Turrentine; Trumpet – Freddie Hubbard. Recorded at Van Gelder Studios November, 1970.

If ever there were a record that both fit perfectly and stood outside the CTI Records' stable sound, it is Sugar by Stanley Turrentine. Recorded in 1970, only three tracks appear on the original album (on the reissue there's a bonus live version of the title track, which nearly outshines the original and is 50 percent longer). Turrentine, a veteran of the soul-jazz scene since the '50s, was accompanied by a who's who of groove players, including guitarist George Benson, Lonnie Liston Smith on electric piano, Freddie Hubbard on trumpet, bassist Ron Carter, organist Butch Cornell, and drummer Billy Kaye, among others. (The live version adds Airto, flutist Hubert Laws, drummer Billy Cobham, and organist Johnny Hammond.) The title track is a deep soul blues workout with a swinging backbeat and the rhythm section fluidly streaming through fours and eights as Benson, Hubbard, and Turrentine begin slowly and crank up the heat, making the pace and stride of the cut simmer then pop -- especially in Hubbard's solo. This is truly midnight blue, and the party's at the point of getting really serious or about to break up. By the time Benson picks up his break, full of slick, shiny, warm arpeggios, the seams are bursting and couples are edging into corners. Butch Cornell's "Sunshine Alley" is a solid, funky groover, paced by organ and double fours by Kaye. Turrentine and Hubbard stride into the melody and keep the vamp in the pocket, riding out past the blues line into a tag that just revs the thing up even further. But the big surprise is in the final track, one of the most solidly swinging, from-the-gut emotional rides of John Coltrane's "Impressions" ever taken. Turrentine is deep inside his horn, ringing out in legato with everything he has -- and it is considerable. Ron Carter's bass playing flows through the modal interludes, creating a basis for some beautifully intervallic invention by Benson and Smith by building a series of harmonic bridges through the mode to solos. It's hard to believe this is Turrentine, yet is could be no one else. If jazz fans are interested in Turrentine beyond the Blue Note period -- and they should be -- this is a heck of a place to listen for satisfaction. ~Thom Jurek

Sugar 

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Lou Donaldson - Everything I Play Is Funky

Bitrate: MP3@320K/s
Time: 38:43
Size: 88.6 MB
Styles: Soul-jazz, Saxophone jazz
Year: 1970/1995
Art: Front

[5:26] 1. Everything I Do Gonna Be Funky (From Now On)
[6:37] 2. Hamp's Hump
[7:12] 3. Over The Rainbow
[6:44] 4. Donkey Walk
[6:27] 5. West Indian Daddy
[6:15] 6. Minor Bash

Alto Saxophone – Lou Donaldson; Bass Guitar [Fender Bass] – Jimmy Lewis; Drums – Idris Muhammad; Guitar – Melvin Sparks; Organ – Charles Earland, Lonnie Smith; Trumpet – Blue Mitchell, Eddie Williams. Recorded on August 22, 1969 & January 9, 1970.

Although purists might not find it as much to their taste as Midnight Creeper, Everything I Play Is Funky is easily one of the best examples of Lou Donaldson's commercially accessible period of the late '60s and early '70s. Donaldson's forays into funk and R&B-driven soul-jazz could sometimes sound stiff, but the grooves here -- which feature many of the same players -- are consistently limber and unforced. And, typical of the style, the grooves (not adventurous improvisation) are what make the album tick. For once, Donaldson's attempt at an R&B cover -- in this case, the Lee Dorsey-sung, Allen Toussaint-penned "Everything I Do Gonna Be Funky (From Now On)" -- is pulled off well enough to make for an entirely convincing statement of purpose. That number kicks off an entertaining program also highlighted by three Donaldson originals -- the cooking funk number "Donkey Walk," which seems to inspire the fieriest solos on the record, the cheery calypso "West Indian Daddy," and the hard bop-flavored "Minor Bash." There's also a version of "Over the Rainbow" done in Donaldson's caressing, melodic ballad style, and the simple funk vamp "Hamp's Hump." It's a nicely varied assortment, all anchored by the percolating rhythm section of guitarist Melvin Sparks, bassist Jimmy Lewis, and drummer Idris Muhammad (Charles Earland and Dr. Lonnie Smith switch off on organ, and Blue Mitchell and Eddie Williams do the same on trumpet). This is the sort of record that modern-day Donaldson disciples like the Sugarman Three cherish, and one of his few truly consistent efforts in this style. Recommended wholeheartedly to funk and rare-groove fans. ~Steve Huey

Everything I Play Is Funky mc
Everything I Play Is Funky zippy

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Dr. Lonnie Smith - All In My Mind

Styles: Jazz, Hard Bop
Year: 2018
File: MP3@320K/s
Time: 56:37
Size: 133,3 MB
Art: Front

(8:18)  1. JuJu
(6:55)  2. Devika
(9:27)  3. 50 Ways To Leave Your Lover
(7:44)  4. On A Misty Night
(9:51)  5. Alhambra
(8:20)  6. All In My Mind
(5:58)  7. Up Jumped Spring

Recorded during his 75th birthday celebration at the Jazz Standard in New York City, All in My Mind follows B-3 boss Dr. Lonnie Smith's acclaimed 2016 release, Evolution, which marked his return to Blue Note Records. Again unobtrusively produced by label boss Don Was, the seven-track set places the great organist in the company of his working trio with guitarist Jonathan Kreisberg and drummer Jonathan Blake. In addition, drummer Joe Dyson and vocalist Alicia Olatuja appear on a track each. The program, like Smith's best Blue Note work from the days of yore (1968-1970), is wildly diverse. It opens with a cooking read of Wayne Shorter's classic modal composition "Juju." Smith's Hammond B-3 goes deep beneath the surface structure of the tune to reveal the subtle colors and tones inherent in the original melody, Kreisberg highlights them with slippery grace and shifting arpeggios, and Blake drives the strident yet mysterious groove with tasty breaks and fills. Smith's labyrinthine solo builds on the changes to balance groove and keyboard pyrotechnics. Another highlight is the nine-and-a-half-minute version of Paul Simon's "50 Ways to Leave Your Lover." Commencing as a slow burn with Kreisberg stating the melody and guest Dyson relying heavily on funky, syncopated breaks, Smith's entry offers subdued tonal shades in the changes until the refrain, when the trio shifts gears toward improvisation, carrying the tune into previously unknown regions. Smith's trio displays its elegant chops and close camaraderie on a sultry, lyrical read of Tadd Dameron's classic "On a Misty Night." They listen closely, while implicitly knowing how to utilize harmonic and dynamic understatement for maximum expression. Smith includes a pair of his own compositions here as well. First is the long, moody, and exploratory "Alhambra," with his keyboard strings and muted trumpet sounds, eventually evolving into a free-for-all jam with everyone digging deep. He also revisits "All in My Mind," from 1977's Funk Reaction. The latter is a more retiring (but no less satisfying) version, with Olatuja's gorgeous voice as its focal point. The set closes with a soul-jazz cum post-bop read of Freddie Hubbard's sprightly "Up Jumped Spring" that finds the great organ master allowing his playful side to come to the fore, gliding through the changes to set the pace for his sidemen. While this set doesn't possess the raw fireworks of his recordings on Palmetto such as Boogaloo to Beck, Too Damn Hot, and Spiral, it more than compensates in taste and outstanding musicianship, making for a thoroughly enjoyable listen from end to end. ~ Thom Jurek https://www.allmusic.com/album/all-in-my-mind-mw0003131644

Personnel: Dr. Lonnie Smith (vocals, organ, keyboards); Jonathan Kreisberg (guitar); Johnathan Blake (drums).

All In My Mind

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Javon Jackson - Have You Heard

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 54:34
Size: 125,7 MB
Scans: Front

(6:39)  1. In This Corner
(8:05)  2. Dance Floor
(6:03)  3. Have You Heard
(3:52)  4. Breakin' Up Somebody's Home
(5:46)  5. Dr Smith
(5:40)  6. Summertime
(5:32)  7. Move On Up
(5:26)  8. Quik
(3:59)  9. That’s The Way I Feel About Cha’
(3:27) 10. Funky In Here (Reprise)

Continuing down the path he laid with '03's Easy Does It, tenor saxophonist Javon Jackson's latest, Have You Heard, is another groove-happy release that turns away from his earlier straight-ahead discs on Criss Cross and Blue Note, moving even further towards a soulful, funky vibe with greater crossover appeal. Lightweight it may be, but it's also a lot of fun and, if assessed on its own merits, successful in an easy-on-the-ears kind of way. Back from Easy Does It are organist Dr. Lonnie Smith and guitarist Mark Whitfield, with bassist Kenny Davis and drummer Terreon Gully fleshing out the rhythm section. Gully is proving he can handle anything from the cerebral post bop of vibraphonist Stefon Harris' Grand Unification Theory to his more accessible Evolution. Singer Lisa Fischer has worked with everyone from Luther Vandross and the Rolling Stones to Patti Labelle over the past twenty years or so; she adds sultry vocals to the Jackson/Matthews blues tune "Feel Like Breakin' Up Somebody's Home," a more vivacious chorus to the disco-fied Roger Troutman hit, "Dance Floor," and some soulful wails on the equally dance-worthy "Funky in the House (reprise)."

Covering material by Curtis Mayfield (the surprisingly up-tempo "Move on Up") and Bobby Womack (the more appropriately soulful and balladic "That's the Way I Feel About Cha'"), the emphasis is on accessibility in the grooves, arrangements, and solos. Jackson's own originals flesh out a programme that also includes an upbeat version of the standard "Summertime," suggesting how it might sound had it been written by Stevie Wonder or Sly Stone, instead of Cole Porter.Jackson, Whitfield, and Smith contribute appropriately blues-informed solos to the session, but while everyone's playing is strong throughout, nothing really stands out. Less about virtuosity and more about vibe, it's perhaps that very definition that makes the album well-crafted, but more than a little generic at the end of the day. While the playing is too defined and the approach too organic to be classified as smooth jazz, this recording veers perilously close, with most songs relying on catchy vamps and eminently danceable rhythms to maintain interest. It's not as if other artists aren't incorporating contemporary elements into their music to make it more approachable, but Jackson seems to have done a complete reversal with his past couple of discs totally rejecting his past, as opposed to finding ways to integrate more accessible concepts with his own style and development. Still, Have You Heard is never less than engaging, although more of the body than the mind. A little more meat and a bit more spice might make Jackson's attempts at broader acceptance more palatable to both his existing fan base and the new one he's clearly trying to cultivate. ~ John Kelman https://www.allaboutjazz.com/have-you-heard-javon-jackson-palmetto-records-review-by-john-kelman.php

Personnel: Javon Jackson (tenor saxophone); Lisa Fischer (vocals); Mark Whitfield (guitar); Dr. Lonnie Smith (organ); Kenny Davis (electric bass); Terreon Gully (drums)

Have You Heard

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Dr. Lonnie Smith, Alvin Queen - Lenox & Seventh

Bitrate: MP3@320K/s
Time: 51:23
Size: 117.6 MB
Styles: Soul jazz, B3 Organ jazz
Year: 2000
Art: Front

[6:18] 1. L.S. Blues
[5:50] 2. Slightly Monkish
[7:57] 3. Who Can I Turn To
[5:59] 4. Billie's Bounce
[9:07] 5. There Is No Greater Love
[4:55] 6. Minor Chant
[4:25] 7. Oleo
[6:48] 8. Chopsticks

LONNIE SMITH : organ; MELVIN SPARKS: guitar; ALVIN QUEEN : drums. Recorded at the Sysmo Studio, Paris ; May 28, 1985.

Dr. Lonnie Smith was born in Lackawanna, New York, into a family with a vocal group and radio program. Smith says that his mother was a major influence on him musically, as she introduced him to gospel, classical, and jazz music. He was part of several vocal ensembles in the 1950s, including the Teen Kings which included Grover Washington Jr. on sax and his brother Daryl on drums. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3.

Lenox & Seventh

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Jimmy McGriff - McGriff's House Party

Bitrate: MP3@320K/s
Time: 59:34
Size: 136.3 MB
Styles: Soul-jazz, Funk
Year: 2000
Art: Front

[8:00] 1. Neckbones à la Carte
[8:19] 2. Blues For Stitt
[5:45] 3. Red Roses For A Blue Lady
[6:00] 4. Red Cadillac Boogaloo
[6:31] 5. that's all
[7:26] 6. McGriff's House Party
[7:30] 7. Grits, Gravy And Groove
[9:59] 8. Dishin' The Dirt

This Milestone release continues in the soul groove that Jimmy McGriff helped create in the early '60s. McGriff's House Party took two days to complete and found the participants in a hard funk mood. The fine groove ensemble on this disc features Kenny Rampton's trumpet on four cuts, tenor saxophonists Eric Alexander or Bill Easley, Rodney Jones on guitar, and Bernard Purdie on drums. It's to McGriff's credit that he invited another organ legend, Dr. Lonnie Smith, along on four especially greasy cuts that will have fans of the genre in Hammond hysteria. Highlights include "Neckbones à la Carte," an up-tempo James Brown-style funk written by guitarist Rodney Jones. "Blues for Stitt" is Easley's tribute to the legendary tenor saxophonist. "Red Roses for a Blue Lady" trots along with an extra bite given to this standard from Alexander. Special guest guitarist George Benson doesn't actually play on this date but he does make his presence felt by contributing "Red Cadillac Boogaloo," which he composed while enjoying the session from the control booth. The slow closing blues "Dishin the Dirt" signals last call and winds up another enjoyable and recommended soul groove session from Jimmy McGriff. ~Al Campbell

McGriff's House Party

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Various - Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1

Bitrate: MP3@320K/s
Time: 68:21
Size: 156.5 MB
Styles: R&B, Jazz-Soul
Year: 2012
Art: Front

[6:48] 1. B. Baker Chocolate Compay - Snowblower
[5:01] 2. Dr. Lonnie Smith - Dreamer
[5:40] 3. Dr. Lonnie Smith - Carousel
[6:38] 4. Joe Thomas - Plato's Retreat
[5:47] 5. Joe Thomas - Masada
[4:38] 6. Joe Thomas - Poinciana
[4:44] 7. Joe Thomas - Gemini Flyin' High
[2:32] 8. O'Donel Levy - Where Is The Love
[4:40] 9. O'Donel Levy - People Make The World Go Round
[3:42] 10. O'Donel Levy - I Want To Make It With You
[6:04] 11. Dr. Lonnie Smith - Keep On Lovin
[6:07] 12. Dr. Lonnie Smith - Sweet Honey Wine
[5:54] 13. Dr. Lonnie Smith - Journey To Within

Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1

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Lonnie Smith - Flavors

Styles: Post bop, Soul jazz
Year: 1976
File: MP3@320K/s
Time: 34:34
Size: 80,7 MB
Art: Front

( 6:54)  1. Apex
(10:25)  2. Flavors
( 9:21)  3. High On You
( 7:52)  4. Good Morning

Organist Lonnie Smith has often been confused with keyboardist/pianist Lonnie Liston Smith  and, in fact, more than a few retailers have wrongly assumed that they're one and the same. In the mid-'60s, the Hammond hero earned recognition for his membership in George Benson's classic quartet before going on to play with Lou Donaldson (contributing some memorable solos to the alto saxman's hit 1967 album Alligator Bogaloo) and recording enjoyable dates of his own for Blue Note. For all their accessibility and commercial appeal, funk-influenced Smith sessions like 1968's Think and 1970's Drives showed that he could be quite imaginative. Smith, who later became Dr. Lonnie Smith (for "no particular reason," the same reason he gives for why he always wears a traditional Sikh turban), remained an inspired representative of soul-jazz, releasing his own albums like 1993's Afro Blue and continuing his long association with Donaldson. The 21st century saw him step up the pace, releasing several albums, including a tribute to Beck, 2003's Boogaloo to Beck; an album of reworked and modernized jazz standards, 2006's Jungle Soul; and 2009's Rise Up! Smith and his trio members  Jonathan Kreisberg, guitar; Jamire Williams, drums continued a relentless and tireless touring and recording schedule; he issued Spiral on 2010 on Palmetto with Matt Balitsaris producing. The live album Healer followed in 2012. In 2016, Smith delivered Evolution, his first album for Blue Note since 1970's Drives. Produced by Don Was, it featured guest appearances from saxophonist Joe Lovano, pianist Robert Glasper, and others. ~ Alex Henderson http://www.allmusic.com/artist/dr-lonnie-smith-mn0000273105/biography

Flavors

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Dr. Lonnie Smith, Larry Willis, Ramon Morris - The Best Of The Funky Blues From The Groove Merchant Vault Vol. 2

Bitrate: MP3@320K/s
Time: 56:21
Size: 129.0 MB
Styles: Blues, Jazz, Funk
Year: 2012
Art: Front

[4:31] 1. Larry Willis - Out On The Coast
[6:24] 2. Larry Willis - Inner Crisis
[6:45] 3. Larry Willis - 153rd Street Theme
[7:12] 4. Larry Willis - Journey's End
[6:17] 5. Ramon Morris - Sweet Sister Funk
[5:32] 6. Ramon Morris - Wijinia
[5:21] 7. Ramon Morris - Don't Ask Me
[6:25] 8. Ramon Morris - Sweat
[7:50] 9. Dr. Lonnie Smith - Good Morning

The Best Of The Funky Blues From The Groove Merchant Vault

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Rodney Jones - Soul Manifesto

Styles: Guitar, Funk
Year: 2001
File: MP3@320K/s
Time: 68:09
Size: 156,9 MB
Art: Front

( 5:25)  1. Groovebone, Part 1
( 6:48)  2. Soul Makossa/Wake Up Call  (Interlude)

(10:17) 3. Soul Manifesto/Roll Call (Interlude) 

( 5:41)  4. One Turnip Green
( 4:23)  5. Ain't No Sunshine
( 7:40)  6. Mobius 3
( 8:17)  7. Soup Bone
( 8:13)  8. Soul Eyes
(11:22)  9. Groovebone, Part 2/Last Call (Interlude) 

You've got to funkafize... Guitarist Rodney Jones departs from the mainstream fare of his most recent recordings ( The Undiscovered Few, Blue Note 96902, 1999 and My Funny Valentine, Timeless 162, 2000) and testifies his funk philosophy on Soul Manifesto. Joined by Funk/R&B specialists Maceo Parker, Arthur Blythe, and Dr. Lonnie Smith, Jones weaves a hypnotic tapestry with a limbic collection of originals and standards so funky the listener might have to leave the room or succumb to the groove. The foundation of Jones's Soul philosophy is grounded in Gospel, Funk, and the Blues. He began playing guitar at age 6, beginning formal lessons age 8. He saturated himself with the Funk-forefront of the day: Jimi Hendrix, Sly Stone, and the formidable James Brown. "You have soul that was created by God, and you have soul created by James Brown. I've always been fascinated by that connection," says Jones. Jones joined the James Brown Mythology when he linked up with Brown alto saxophonist Maceo Parker for Parker's breakthrough Roots Revisited (Verve 843 751, 1992). Jones went on to work with the funkmeister for five years (and that definitely shows on this recording). Jones bookends this recording with the original "Groove Bone, Parts 1 and 2." He establishes the mood of the recording with these pieces while jamming through the other funky tone orgies "Soul Makossa," "Mobius 3," and "One Turnip Green." Standards include a soulful "Ain't No Sunshine" and "Soul Eyes." The band was well chosen, particularly Maceo Parker and Arthur Blythe. They truly reveal the soulfulness of the alto saxophone. Makes one wish King Curtis was on hand for the tenor chair. Is this Jazz? Quoting Mark Corroto in his primer on funk, "As the tee-shirt sez, 'F*** Art, Let's Dance." ~ C.Michael Bailey https://www.allaboutjazz.com/soul-manifesto-rodney-jones-blue-note-records-review-by-c-michael-bailey.php

Personnel: Rodney Jones: Guitars;  Maceo Parker: Alto Saxophone;  Arthur Blythe: Alto Saxophone;  Dr. Lonnie Smith: Hammond B-3 Organ;  Lonnie Plaxico: Bass;  Idris Muhammad: Drums.

Soul Manifesto

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Ray Brown Jr. - Friends And Family

Bitrate: MP3@320K/s
Time: 56:47
Size: 130.0 MB
Styles: R&B/Jazz/Soul
Year: 2008
Art: Front

[4:44] 1. Can’t Take My Eyes Off You (Feat. Jane Monheit)
[2:42] 2. I’m Beginning To See The Light (Feat. Melba Moore & Terry Gibbs)
[3:46] 3. Sunny Side Of The Street (Feat. James Moody)
[4:33] 4. Too Close For Comfort (Feat. Maria Muldaur)
[4:36] 5. I Wish You Love (Feat. Dionne Warwick & David Fathead Newman)
[3:30] 6. Lullaby Of Birdland (Feat. Freda Payne & Terry Gibbs)
[4:23] 7. Up On The Roof (Feat. Sophie B. Hawkins)
[4:27] 8. Ordinary Fool (Feat. Paul Williams)
[2:11] 9. A-Tisket-A-Tasket (Feat. Haylee)
[3:18] 10. Something’s Gotta Give (Feat. Freda Payne)
[4:03] 11. Everybody’s Cryin’ Mercy (Feat. Dr. Lonnie Smith)
[3:43] 12. Girls On The Beach (Feat. Dave Somerville)
[3:55] 13. Laughter In The Rain (Feat. Kim Hoyer)
[3:22] 14. I Thought About You (Feat. Sally Kellerman)
[3:27] 15. How High The Moon (Feat. Ella Fitzgerald & Ray Brown Sr)

If you’re expecting any vocal similarity between Ray Brown Jr. and his mother, Ella Fitzgerald, you’ll be disappointed. Brown is, after all, not her natural son, but was adopted by Fitzgerald and Ray Brown in 1949, midway through their six-year marriage. But if his parents’ acute musicality isn’t in his genes, then he must have absorbed it, because Jr. is a first-rate performer with a deep, slightly raspy sound that suggests a blend of Bobby Short and Michael McDonald, plus a soupcon of Billy Eckstine.

The 59-year-old scion started out in the music business in the ’70s, toying with rock and then country before setting into a pop/soul groove. Friends and Family is his fourth album, but the first that inches toward jazz. The “friends” are an eclectic bunch, spanning young (Jane Monheit, Sophie B. Hawkins), old (septuagenarian David Somerville, one-time lead singer of the ’50s group the Diamonds), iconic (James Moody, Dr. Lonnie Smith, Dionne Warwick), obscure (little-known but impressive jazz chanteuse Kim Hoyer) and unexpected (Oscar-nominated M*A*S*H actress Sally Kellerman).

The results are generally excellent—particularly a funky “Memphis” featuring both Smith and Dr. John, a slow and sexy “Too Close for Comfort” with Maria Muldaur and a scorching “I’m Beginning to See the Light” with Melba Moore and Terry Gibbs. Unfortunately, the “family” portion of the program proves less rewarding. Brown teams with daughter Haylee for a rendition of “A-Tisket, A-Tasket” that zooms way past cute toward cloyingly sticky-sweet. Most disappointing is the disc-closing attempt at a family reunion, with Jr. awkwardly wedged into the middle of a muddy, old recording of mom and dad performing “How High the Moon.” ~Christopher Loudon

Friends And Family

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Lou Donaldson - Play The Right Thing

Styles: Saxophone Jazz
Year: 1991
File: MP3@224K/s
Time: 49:54
Size: 80,5 MB
Art: Front

(6:21)  1. Play the Right Thing
(6:09)  2. Whiskey Drinkin' Woman
(6:54)  3. Marmaduke
(5:53)  4. Harlem Nocturne
(7:58)  5. This Is Happiness
(6:24)  6. I Had the Craziest Dream
(4:12)  7. The Masquerade Is Over
(6:00)  8. Footpattin' Time

As specifically indicated by the album's title, the title tune's bluesy cast, and Sweet Lou Donaldson's own determined liner notes, this CD aims to strike a blow for soul-jazz, a once-popular, then-maligned idiom newly returned from exile. That it does with no frills, no apologies, and an idiomatic supporting cast. For Donaldson, it was a return to the style that lit up inner-city jukeboxes for him in the 1960s, and though his alto sax lacks some of the majesty that he could summon forth, his bop-flavored technique remained in fine shape in his mid-sixties. It was also a reunion with Donaldson's occasional organist Dr. Lonnie Smith, who contributes plenty of understated savvy to his solos and bass pedal underpinning. Peter Bernstein is the crisp, tasteful guitarist and Bernard Purdie remains the genre's premier timekeeper, assisted by conguero Ralph Dorsey. Together, they work over a series of standards ("Harlem Nocturne," "I Had the Craziest Dream"), some vintage bop (Charlie Parker's "Marmaduke"), and a few Donaldson compositions. "Whiskey Drinkin' Woman," a humorous slow blues featuring Donaldson's high-pitched, good-natured vocals, became a popular feature of his stage act into the next century. With all of these ingredients in place, the CD achieves a comfortable level of competence without really grabbing hold of a groove and riding it the way Donaldson could in his Blue Note days. Also, the sound is a little dry. ~ Richard S.Ginell http://www.allmusic.com/album/play-the-right-thing-mw0000264811

Personnel: Lou Donaldson (vocals, alto saxophone); Peter Bernstein (guitar); Dr. Lonnie Smith (organ); Bernard "Pretty" Purdie (drums); Ralph Dorsey (congas).

Play The Right Thing

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Red Holloway - Coast to Coast

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 53:05
Size: 121,9 MB
Art: Front

(6:02)  1. Still Groovin'
(8:04)  2. Avalon
(5:10)  3. 3 steps up clark
(4:07)  4. Indian summer
(6:43)  5. Struttin' with Julie
(8:13)  6. Water jug
(4:53)  7. Million Dollar Secret
(9:48)  8. Good to Go

With all the accolades and attention paid to acts like Soulive and Medeski, Martin and Wood, the true progenitors of their music often get lost in the shuffle. Milestone has been righting such wrongs for years by signing evergreen Soul Jazz talent to its ranks. This new entry by Red Holloway serves as the latest notice that the venerable voices of the idiom are still alive and kicking. Holloway, who first gained acclaim as a member of Jack McDuff’s outfit in the early 1960s and waxed a string of popular Prestige sides on his own, has a horn sound custom-suited to the groove. Basie alum Frank Wess adds a compatible hard swing element to the band sound palpable from the opening legato riffing of “Still Groovin’.” Plectrist Melvin Sparks and Dr. Lonnie Smith, also known under his whirling dervish moniker The Turbanator, bring decades of soul and funk experience to the session alongside the two lead horns. Paul Humphrey mans the drum kit and stokes a driving beat that never oversteps his partner’s fluid movements. These chaps might be older, grayer and in Holloway’s case, balder, but they still no how to conjure up and contain a propulsive groove.

Holloway projects no illusions as to the purpose of the music or the session. This is first and foremost an opportunity for the principals to have a good time and celebrate a shared lineage that is now over four decades strong. He keeps running time down to a modest fifty-three minutes over the span of eight cuts. There’s enough space for everyone to stretch, but not too much room to meander or falter. The succinct nature of the set results in substantial replay dividends, just as the uncluttered arrangements set feet to tapping and the fingers to popping. Holloway’s alto even shows up on the ballad “Indian Summer” synching gracefully with the fulsome flutter of Wess’ tenor. The two saxophonists dance a slow waltz atop the molasses throb of Smith’s thick tonal sustains. Just about the only stumble is Holloway’s decision for a vocal turn on the Helen Humes vehicle “Million Dollar Secret.” His pipes have neither the bite of a leathery voiced bluesman nor the convincing swagger of cocktail crooner and come off as desultory despite the fine backing by the band. The slow sizzling closer, “Good to Go,” regains lost ground with some greasy interplay between Sparks and Smith. The tenors slip and slide across the lubricious chordal terrain and Holloway wisely prolongs the tune past the nine-minute mark. As the icing on the sonic cupcake, the entire session was recorded in the warm acoustics of Rudy Van Gelder’s studio, the site of countless earlier groove conclaves. ~ Derek Taylor https://www.allaboutjazz.com/coast-to-coast-red-holloway-fantasy-jazz-review-by-derek-taylor.php

Personnel: Red Holloway- tenor & alto saxophones, flute; Frank Wess- tenor saxophone; Dr. Lonnie Smith- organ; Melvin Sparks- guitar; Paul Humphrey- drums.

Coast to Coast

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Lou Donaldson - Pretty Things

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 38:45
Size: 89,0 MB
Art: Front

(6:39)  1. Tennessee Waltz
(5:47)  2. Curtis' Song
(6:34)  3. Sassie Lassie
(5:28)  4. Just for a Thrill
(8:11)  5. Pot Belly
(6:03)  6. Love

Lou Donaldson has recorded many strong sessions throughout his career but this CD reissue brings back one of the less-significant ones. Organist Leon Spencer dominates the ensembles, the material is a bit trivial and the altoist/leader uses a baritone sax on some of the selections which makes him sound much less individual than usual. Trumpeter Blue Mitchell's solos and a fine closing jam on "Love" help upgrade the music a bit but there are many better Donaldson recordings to acquire first. ~ Scott Yanow http://www.allmusic.com/album/pretty-things-mw0000103323

Personnel: Lou Donaldson (alto saxophone); Blue Mitchell (trumpet); Leon Spencer Jr., Lonnie Smith (organ); Ted Dunbar, Melvin Sparks (guitar); Jimmy Lewis (bass); Idris Muhammad (drums).

Pretty Things

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