Cool Blues [Bonus Tracks]

( 1 )

Editorial Reviews

Barnes & Noble - Steve Futterman
Stretching out with some heavy-hitting friends behind him, Jimmy Smith proves why he was, and remains, the king of the Hammond organ. The elements of a classic jam session were all in place on April 7, 1958, the night this album was recorded at Small’s Paradise in New York. Among Smith’s hard-bopping buddies were alto saxophonist Lou Donaldson, the underrated and underecorded tenor saxophone master Tina Brooks, and the iconic Art Blakey, who contributes steaming drums on the first three tracks. (Smith’s regular trio mates, guitarist Eddie McFadden and drummer Donald Bailey, who fills in for the remainder of the tracks, were also on hand.) With four of the ...
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Editorial Reviews

Barnes & Noble - Steve Futterman
Stretching out with some heavy-hitting friends behind him, Jimmy Smith proves why he was, and remains, the king of the Hammond organ. The elements of a classic jam session were all in place on April 7, 1958, the night this album was recorded at Small’s Paradise in New York. Among Smith’s hard-bopping buddies were alto saxophonist Lou Donaldson, the underrated and underecorded tenor saxophone master Tina Brooks, and the iconic Art Blakey, who contributes steaming drums on the first three tracks. (Smith’s regular trio mates, guitarist Eddie McFadden and drummer Donald Bailey, who fills in for the remainder of the tracks, were also on hand.) With four of the performances more than ten minutes long, there’s plenty of playing to be heard from the inspired participants; it’s always good to hear Donaldson in a straight-ahead bop mode, and whatever extra we can get from Brooks is never to be dismissed. Smith, of course, more than holds his own in fast company. In fact, he’s particularly energized here, slamming out keyboard passages and pumping bass lines with passion and abandon. As a document of friends hanging out and having serious fun, Cool Blues is way cool.
All Music Guide - Scott Yanow
This CD should greatly interest all Jimmy Smith collectors, including those who already have the original LP. In addition to four excellent selections quintets with altoist Lou Donaldson, Tina Brooks on tenor, guitarist Eddie McFadden, either Art Blakey or Donald Bailey on drums, and the organist/leader, there are three previously unissued numbers from the same gig, featuring the quartet of Donaldson, Smith, McFadden, and Bailey. The repertoire is filled with blues and bop standards, and the soloing is at a consistently high and hard-swinging level. Jimmy Smith fans will be pleased. [The 2002 re-release by Blue Note includes several songs not included on the original: "Announcements by Babs Gonzales," "What's New," "Small's Minor," and "Once in a While."]
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Product Details

  • Release Date: 1/29/2002
  • Label: Blue Note Records
  • UPC: 724353558727
  • Catalog Number: 35587
  • Sales rank: 42,043

Tracks

Disc 1
  1. 1 Dark Eyes (11:43)
  2. 2 Groovin' at Small's (12:01)
  3. 3 Announcements by Babs Gonzales - Babs Gonzales (0:26)
  4. 4 A Night in Tunisia (17:04)
  5. 5 Cool Blues (11:07)
  6. 6 What's New? (6:18)
  7. 7 Small's Minor (6:44)
  8. 8 Once in a While (6:46)
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Album Credits

Performance Credits
Jimmy Smith Primary Artist, Organ
Tina Brooks Tenor Saxophone
Babs Gonzales Track Performer
Donald Bailey Drums
Art Blakey Drums
Lou Donaldson Alto Saxophone
Eddie McFadden Guitar
Technical Credits
Micaela Boland Art Direction
Michael Cuscuna Reissue Producer
Rudy Van Gelder Engineer, Remastering, Engineering
Alfred Lion Producer
Francis Wolff Cover Photo
Patrick Roques Cover Design
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    FINALLY THE REAL THING

    For those of us who prefer Jimmy Smith as the Jazz Musician that made him famous rather than the blues musician that made him rich, this is a welcome surpise. In my own opinion this is his best jazz album by far (I own the vxynl original). On this album alone Smith plays lyrically recalling Clifford Brown in some places and Gene Ammons in others, a great contrast to his usually busy or bluesy style (He does get busy on a Night in Tunisia but otherwise he actually improvises rather than playing one of his beautiful but formulaic solos that you love or just grow to hate). His side men are at their best also. Let's hope that some of his less commercial work continues to be released.

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Sort by: Showing 1 Customer Reviews