01 - Down By The Riverside.mp3 
02 - Happy-Go-Lucky (aka Night Train).mp3
03 - James And Wes.mp3
04 - 13 (Death March).mp3
05 - Baby, It's Cold Outside.mp
06 - O.G.D. (aka Road Song).mp3

Personnel: 
Jimmy Smith (organ); 
Wes Montgomery (guitar); 
Oliver Nelson (conductor); 
Jerry Dodgion (alto saxophone, clarinet, flute); 
Bob Ashton (tenor saxophone, clarinet, flute, alto flute); 
Phil Woods, Danny Bank (baritone saxophone, bass clarinet, flute, alto flute); 
Clark Terry (trumpet, flugelhorn); 
Jimmy Maxwell, Joe Newman, Ernie Royal (trumpet); 
Jimmy Cleveland, Quinten Jackson, Melba Liston (trombone); 
Tony Studd, Dick Hixson (bass trombone); 
Jerome Richardson (clarinet, alto & tenor flutes); 
Richard Davis (bass); 
Grady Tate (drums); 
Ray Barretto (conga, jingle bells).

Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary -- a near-ideal meeting of yin and yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair, complementing each other, driving each other, using their bop and blues taproots to fuse together a sound. The romping, aggressive big band charts -- Oliver Nelson at his best -- on "Down by the Riverside" and "Night Train," and the pungently haunting chart for Gary McFarland's "13" (Death March)" still leave plenty of room for the soloists to stretch out. "James and Wes" and "Baby, It's Cold Outside" include drummer Grady Tate and conguero Ray Barretto, with Smith's own feet working the organ pedals. The Verve Master Edition reissue also includes an alternate take of "O.G.D." with Tate and Barretto, a track previously surfacing on a long-gone Encyclopedia of Jazz anthology LP from the '60s -- a neat bonus that makes this the preferred version. --- Richard S. Ginell, Rovi

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01. Au Privave
02. Lover Man
03. Just Friends
04. Blues After All			download
05. Confirmation

Line Up:
Jimmy Smith (organ)
Lou Donaldson, George Coleman (alto saxophone)
Tina Brooks (tenor saxophone)
Lee Morgan (trumpet)
Curtis Fuller (trombone)
Kenny Burrell, Eddie McFadden (guitar)
Art Blakey, Donald Bailey (drums)

In 2000 when Blue Note upgraded 1958's House Party as part of the label's superior Rudy Van Gelder series, they augmented the title with a ten-plus minute driving blow of Charlie Parker's "Confirmation" as a well-chosen bonus track. Now the effort is bookended by some primal Bird, which was always a forte of the assembled coterie. In addition to sharing three of the five sides with the RVG edition of The Sermon! (1958), there are two selections from the August 25, 1957, confab of Lee Morgan (trumpet), George Coleman (alto sax), Curtis Fuller (trombone), Eddie McFadden (guitar), Kenny Burrell (guitar), and Donald Bailey (drums). The remaining three were recorded precisely six months later on February 25, 1958, with a slightly amended lineup featuring altoist Lou Donaldson (in for Coleman) alongside Tina Brooks (tenor sax) and the ubiquitous Art Blakey (drums) providing unique contributions of their own. "Au Privave" is a refined piece of indisputable bop mastery as Smith commands the combo through an incendiary and driving rendition that grooves unforced flair and organic charisma. Morgan bandies about with Smith and Brooks behind the flowing support of the amended rhythm section of Blakey and Burrell. Even at 16-plus minutes, the pace and timbre of the performance begs for more. "Lover Man" is splendid and sincere as Donaldson drives right to the heart, unreeling stunningly lyrical leads behind Smith's distinguished progressions."Just Friends" is a true gem and one of the two cuts not duplicated on The Sermon! Beginning with McFadden, each musician is given room to stretch and reveal his identity as both an ensemble player and soloist. "Blues After All" is a soulful outing that offers up arguably the most sublime and understated bop on the album. Concluding House Party is the aforementioned cover of Bird's "Confirmation," which is as stinging and incisive as its opening counterpart. It also questions why one should spend time reading about genius when the real pleasure lies in the experience of hearing it. ---Lindsay Planer, allmusic.com

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1. Only In It For The Money 4:33
2. 8 Counts For Rita 3:39
3. Strut 5:02
4. C C Rider 7:07                        play
5. I Just Wanna Make Love To You 3:54
6. Mood Indigo 8:
7. Over & Over 5:52
8. Three O'Clock Blues 4:33
9. Dot Com Blues 5:22                  play
10. Mr. Johnson 5:47
11. Tuition Blues 5:51

Personel:
•  Jimmy Smith Organ
•  Russell Malone Guitar 
•  Reggie McBride Bass 
•  Harvey Mason Drums 
•  Etta James Vocal 
•  Dr. John Vocal, Piano, Keyboards 
•  B.B. King Vocal, Guitar 
•  Taj Mahal Vocal, Guitar 
•  Keb' Mo Vocal, Guitar 
•  The Texacali Horns Horn Section

Organist Jimmy Smith's Blue Note and Verve back-catalog is the stuff of legend, and the man plays as well on Dot Com Blues as he ever has. But this session is more than another Jimmy Smith album. At times you wonder where Jimmy is among all the accompanying star power, but if you listen, he is still there, rubbing the honeyed keys as B.B. King, Etta James, Dr. John, and Keb Mo wail and work it. Smith shows he is still the master of the blueswalk in "8 Counts for Rita," "C.C. Rider," "Tuition Blues," and the title track, as well as on a sumptuously slow version of "Mood Indigo." Here, Smith solos with gritty abandon in a small-group setting with such notables as guitarist Russell Malone, drummer Harvey Mason, and percussionist Lenny Castro. Smith is more often felt than heard elsewhere, though, and maybe that is understandable when Etta James lets rips on a wobbly version of "I Just Wanna Make Love to You." The opening "Only in It for the Money" is better balanced, perhaps because Dr. John understands the value of less-is-more and, as a fellow keyboardist, doesn't want to step on Smith's celebrated toes. Finally, B.B. King helps make "Three O'Clock Blues" a rocking blowout that transports the listener back to some rock & blues tent meeting circa 1956. Dot Com Blues proves that Jimmy Smith can still raise the rug and do what he does best, star power in attendance or not. --Ken Micallef

Jimmy Smith is an American icon. In the world of jazz, he has remained uncontested at the top of his field for more than four decades. On Dot Com Blues, Jimmy’s first new record in five years, Smith takes blues organ to new heights. Having always had a deep rooting in the blues, it comes as no surprise that he would do a project focused on the genre. Producer John Porter and Verve Music Group President Ron Goldstein have assembled an all-star cast, featuring vocal performances by such blues greats as B.B. King, Dr. John, Etta James, Keb’ Mo’, and Taj Mahal.

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1. Midnight Special
2. Subtle One, A
3. Jumpin' The Blues
4. Why Was I Born
5. One O'Clock Jump

Personel: Jimmy Smith (organ); Stanley Turrentine (tenor saxophone); 
Kenny Burrell (guitar); Donald Bailey (drums).

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01 - Off the top 
02 - Endless love 
03 - Mimosa 
04 - I'll drink to that 
05 - Theme from M.A.S.H. 
06 - Ain't misbehavin' 
07 - Jimmy Smith rap

Errol Crusher Bennett - 	Percussion
George Benson 	- Guitar
Ron Carter - Bass
Jimmy Smith - Arp Strings, Organ (Hammond)
Grady Tate - Drums
Stanley Turrentine - Sax (Tenor)

It had been nine years since organist Jimmy Smith recorded for a major label when Bruce Lundvall approached him to make an album for Elektra Musician. Smith plays some unusual material (including Lionel Richie's "Endless Love" and the "Theme from M.A.S.H.") on this recording but swings everything and has a particularly strong supporting cast -- guitarist George Benson, Stanley Turrentine on tenor, bassist Ron Carter and drummer Grady Tate. A fine comeback date. ---Scott Yanow, Rovi

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1 - The Sermon 
2 - J.O.S 
3 – Flamingo

    Jimmy Smith – organ
    Lee Morgan – trumpet
    Lou Donaldson – alto saxophone (1,3)
    Tina Brooks – tenor saxophone
    Kenny Burrell – guitar (1,3)
    Art Blakey – drums (1,3)
    George Coleman – alto saxophone (2)
    Eddie McFadden – guitar (2)
    Donald Bailey – drums (2)

When Jimmy Smith exploded onto the jazz scene in 1956, he changed everything about the way the organ was used and perceived in jazz. His first two years of recording were mind-bogglingly prolific, producing 13 albums. Three marathon jam sessions during this period produced some of his finest early work, including The Sermon! Smith displays both a youthful fire and a musical wisdom beyond his years throughout the album. Whether blazing through hard bop tunes like "Confirmation" and "Au Privave" (both Charlie Parker compositions) or gently caressing the ballad "Lover Man," Smith constantly proves himself the most inventive organist of the bop generation. In moving beyond the classic organ trio format, Smith takes the organ into new areas, and trading solos with the likes of Lee Morgan and Lou Donaldson, he makes it plain that his is an individual voice worthy of its eventual place in the jazz canon. A special treat here is the tenor work of the great, underrated Tina Brooks. ---Rovi

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1. There Will Never Be Another You
2. Fight, The
3. Blue Moon
4. All The Things You Are
5. Zing Went The Strings Of My Heart
6. Somebody Loves Me
7. First Night Blues - (bonus track)
8. Cherokee - (bonus track)
9. The Third Day - (bonus track) 

Personnel: 
Jimmy Smith (organ)
Eddie McFadden, Thornel Schwartz (guitar)
Donald Bailey, Art Blakey (drums).

This LP, which has been included as part of a Mosaic Jimmy Smith three-CD box set, features the organist taking a pair of rare unaccompanied solos on "All the Things You Are" and a fairly free "The Fight" and jamming several songs ("Zing Went the Strings of My Heart," "Somebody Loves Me" and "Blue Moon") with his trio. Art Blakey fills in for drummer Donald Bailey on "Zing" while guitarist Eddie McFadden is heard throughout the three selections. Excellent straightahead jazz from the innovative organist. ---Scott Yanow, Rovi

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