Jimmy Smith
Softly As A Summer Breeze

The beauty of Blue Note is that it always offers you a product that meets expectations: when you buy a record from the label, you already know that, no matter what, you will have a good piece of jazz in your hands.
Lately, there’s been a real revolution and reworking of the massive collection of Rudy Van Gelder’s tapes, the master engraver of the era to whom we owe practically half of the sixties jazz; or at least the best pieces.

In this case, we are talking about “vintage” stuff, of great value and taste for listening: one of Jimmy Smith’s early records, who has led his groups since '53, recorded in 1958 and released in '65. Recorded in a trio, or rather with two trio formations, which at the time was quite unusual: the group was brought in, a few bucks in compensation, and the record was churned out without too much fuss, please. Here, on the other hand, we find the precise will of the one who will later become the recognized father of jazz organ, to seek different situations and stimuli even if within the same limited time frame available. The interaction between guitar, organ, and drums is one of the most difficult but exciting if well managed; and if you intend to start knowing the potential of the Hammond organ within the jazz field, under the hands of a champion, this could be the first beautiful thing to purchase.
The record seems recorded yesterday and in this reissue, just released, there are also four bonus tracks included, to ensure you a long and enjoyable orgasmic trip; it must be said that the original album consisted of only the first six tracks, in which, along with Jimmy Smith, play: Kenny Burrell on guitar and Philly Joe Jones on drums (1, 2, 3, 4) later replaced by Eddie McFadden and Donald Bailey (5, 6). The last four tracks were instead taken from a session at the end of '58 and feature an as yet unknown Bill Henderson as vocalist and again Donald Bailey on drums, with Ray Crawford on guitar. These four tracks were released as two “singles” and here have been included as a real treat for the enthusiast. To spare the reader excessive effort, a very brief description of the pieces:

1) "These Foolish Things" is rendered in a slow and captivating version.
2) "Hackensack" (by Monk) presents us with a notable swing interplay to savor; with a bass pulsation (left hand) that skillfully plays with the drums, while Kenny Burrell admirably converses with himself on the guitar.
3) "It Could Happen To You" is another beautiful and engaging slow tune
4) "Sometimes I Am Happy" is a brisk medium-tempo swing of over eight minutes
5) "Someone To Watch Over Me" is a ballad that, as performed, can still make your hair stand on end (for those who have them!)
6) "Home Cookin" is a medium swing
7) "Willow Weep For Me" is the first track sung by Bill Henderson, for a pleasant downtown jazz club atmosphere.
8) "Ain't No Use" is a nice blues; steady, relentless, and played between guitar and voice
9) "Angel Eyes" is a more traditional song, with guitar highlighting and complementing the voice. Smith very discreet in support
10) "Ain’t That Love" is a runaway shuffle that gives you the idea of pure energy scattered around during the session.

Very "soul" and clear blues roots, perceivable in the absolutely spontaneous way of organizing the sound material, both by Jimmy and the other musicians. Substantial music; yet soft as a summer breeze.