Organ Grinder Swing

I've listened to this album so much over the years
that I can practically sing every one of the solos.

One of the beautiful aspects of jazz is the varying source (or, in many cases, sources) of its brilliance. Sometimes, the source of the brilliance comes from the compositions themselves - for example, a complex Duke Ellington piece. Other times, the source of the brilliance is the combined instrumental prowess of those playing - if you put several virtuosos in a room together and ask them to play, the result will naturally scintillate. Jimmy Smith's Organ Grinder Swing (1965) is a fine example of the latter variety of brilliance.

I first discovered the album on one of my father's old cassette tapes when I was around 13 years old. Immediately struck by the obscenely talented players on the record, I listened to the tape incessantly. It was no surprise to me that Jimmy Smith was regarded by some as the 8th wonder of the world. His playing, a fusion of blues, gospel, and jazz, was unlike anything I had ever heard. The story goes that before he started playing professionally, Smith spent nearly a year locked in a warehouse honing his sound:

“I got my organ from a loan shark had it shipped to the warehouse. I stayed in that warehouse, I would say, six months to a year. I would do just like the guys do—take my lunch, then I'd go and set down at this beast. Nobody showed me anything, man, so I had to fiddle around with my stops." (Jazz Organ Stories: Jimmy Smith, Pete Fallico)

All of that time alone in the warehouse must have worked wonders - he emerged from his time in seclusion playing the Hammond like nobody before him.

This is not to say that the beauty of Organ Grinder Swing originates solely from Smith, however. While his masterful organ playing is at the center of the record (he is, of course, the leader), equal credit must also be given to the session sidemen for their contributions. For one, Grady Tate (drums) lays the perfect foundation for the album - his playing is at once innovative and steady, keeping things interesting while setting an unwavering pace. Furthermore, Kenny Burrell (guitar) puts forth a stunning effort as well, comping admirably and putting forth a few solos that give Wes Montgomery (himself one of Smith's major collaborators) a run for his money.

Today's selection is "Greensleeves," the fourth track on the record. In my mind, it's the most impressive cut on Organ Grinder Swing - a jazz waltz with phenomenal solos from both Smith and Burrell, as well as some propulsive drumming from Tate. Listen to the way that Kenny Burrell comes into his first solo (1:13) with a brilliant ascending line. Also listen to his impeccable phrasing later in the solo (1:40), particularly his lovely incorporation of some very tasteful arpeggios around the 1:46 mark. This is textbook jazz guitar playing, boys and girls. Also listen for Smith's ridiculous organ pyrotechnics, which are impossible to miss. Love his ability to go absolutely batshit crazy, then rein it in on a dime - you'll find a good example of this around 4:54 when he switches from some very quick and chaotic phrasing to a more melodic style and then back again. Lovers of the Hammond organ: this album is for you.

Greensleeves