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Track List
01) Some of My Best Friends Are Blues
02) The Boss
03) This Guy's in Love for You
04) Fingers
05) Tuxedo Junction
01) Some of My Best Friends Are Blues
02) The Boss
03) This Guy's in Love for You
04) Fingers
05) Tuxedo Junction
7:58
8:53
5:55
10:34
9:29
Data Complete
70%
Total Rating
70%Total Rating
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Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1968
Jazz
Happy
Jazz
---
Medium
Album
0 copies
Album Description
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This live date captures Hammond organ master Jimmy Smith, guitarist George Benson, and drummer Donald Bailey performing in 1968 for a fun-loving crowd at an intimate club in Atlanta, Georgia. As per usual with Smith, the fare is bluesy soul-jazz par excellence, with a warm feeling reminiscent of Sunday church meetings and backyard barbecues. But where many of Smith's albums pack a funky wallop suitable for dancefloor workouts, The Boss hangs back a bit, grooving smoothly along blues progressions that allow Benson and Smith to stretch out. The trio setting abets the reserved vibe here; there is an almost chamber-jazz feel at times, as Smith and Benson trade leads, while Bailey keeps the ship steady. Smith's mastery of the keys unfurls itself in flurries of activity (especially on the swirling clouds of sound on the title cut), and Benson's beautifully phrased solos remind listeners that he was a fine, straight-up jazz player (before moving into commercial pop in the later '70s and '80s). While not as hot and sweaty as some of Smith's output, The Boss' grooves are no less admirable (or intense) for their measure and grace.
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This live date captures Hammond organ master Jimmy Smith, guitarist George Benson, and drummer Donald Bailey performing in 1968 for a fun-loving crowd at an intimate club in Atlanta, Georgia. As per usual with Smith, the fare is bluesy soul-jazz par excellence, with a warm feeling reminiscent of Sunday church meetings and backyard barbecues. But where many of Smith's albums pack a funky wallop suitable for dancefloor workouts, The Boss hangs back a bit, grooving smoothly along blues progressions that allow Benson and Smith to stretch out. The trio setting abets the reserved vibe here; there is an almost chamber-jazz feel at times, as Smith and Benson trade leads, while Bailey keeps the ship steady. Smith's mastery of the keys unfurls itself in flurries of activity (especially on the swirling clouds of sound on the title cut), and Benson's beautifully phrased solos remind listeners that he was a fine, straight-up jazz player (before moving into commercial pop in the later '70s and '80s). While not as hot and sweaty as some of Smith's output, The Boss' grooves are no less admirable (or intense) for their measure and grace.
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