Jimmy Smith helped redefine the vocabulary of jazz organ during the hard bop/soul jazz era. With his heavily blues and gospel based approach,his use of the Leslie speaker on his Hammond B-3 organ became defined by distinct clicking tones between each key stroke. This idea of instrumental technique combined with personal finger touch has made Smith’s sound extremely influential among jazz style organists for the remainder of the 20th century. And with bands such as England’s James Taylor Quartet utilizing this approach on the Hammond organ, Smith is along with Roy Ayers one of the main instrumental pioneers of the 1990’s acid jazz sound.
As of today,it’s been five days since Earth Wind & Fire bandleader Maurice White passed away. When I think about it,Maurice and Jimmy Smith were both members of America’s Silent Generation-only on earlier and later ends of it. During the mid 1970’s,Smith’s musical style made yet another transition. This one towards a hard funk oriented sound. Because of his blues roots and love of placing his organ soloing in the context of heavy rhythm,the funk genre was an ideal for Smith to deal with during the late 70’s. Recording both bop and funk for the Mercury label at the time,Smith and Maurice White’s music dovetailed beautifully in 1978 when Smith interpreted the EWF number “Serpentine Fire”.
The lightly fan faring intro of percussionist Stephanie Spruill introduces this groove,over which Smith plays a smooth version of the songs initial melody on his B-3. John Phillips tenor sax and and Nolan Smith’s trumpet play the role of a stripped back Phenix Horns going into Abraham Laboriel’s bass line-itself similar to the bluesy melodic line of Herbie Hancock’s “Cantaloupe Island”. On the central refrains,Smith plays the chords of the melody very much in classic bop style-with later variations showcasing call and response dialog with the two horns. On the choral links with the scaled up horns,Smith accompanies his own organ with a beautiful round Moog synthesizer bass tone.
Of course EWF had a strong jazz basis at the very core of their sound. When jazz soloists began covering their huge hits during the 70’s,that element really came out a lot more. Jimmy Smith’s take on “Serpentine Fire” from his 1978 album Unfinished Business is a superb example. Not only is he rounding heavily on his bop approach of playing chords, but on many of his solos he’s hammering on the organ in a very aggressively rhythmic sustain. The rhythmic sound of the song is a bit smaller,more live oriented than studiocentric. Of course that allows for Smith’s soloing to take center stage. It also allows for his to be a fantastically funky re-imagining of an Earth Wind & Fire classic.
Filed under 1970's, 1990s, Abraham Laboriel, Acid Jazz, blues funk, Earth Wind & Fire, Funk Bass, Hammond B-3, hard bop, jazz funk, Jimmy Smith, Maurice White, Moog, organ, Phenix Horns, Silent Generation, Uncategorized
With my end of this shared blog making it’s 100th post today? I wanted to personally dedicate this to the memory of the late poetess and human rights champion Maya Angelou-who left this Earth in the summer of 2014. I’ve already shared a song she did with Ashford & Simpson in the mid 90’s But during her final year she teamed up with multi instrumentalist Shawn Rivera to record her reciting her poetry rhythmically over a contemporary hip-hop style backing for the 2014 posthumous release Caged Bird Songs,which leads off with the number “Human Family”.
The song leads off with a sizzling bass synthesizer tone which goes into a higher electronic alarm sound over which Angelou declares “It is time for the preachers,the rabbis,the priests,pundits and the professors to believe in the awesome wonder of diversity”. A driving uptempo drum machine kicks in with a song that musically interchanges instrumental gears between each refrain. The first refrain showcases a gentler variation of that synthesized alarm sounding effect playing rhythmically very much in the vein of the late 80’s Bomb Squad sound,while the second refrain features a grinding and funky rhythm guitar solo from Rivera.
Maya Angelou was one of those people who epitomized the female black American side of what writer William Strauss famously coined as the Silent Generation. This generation,born during the second half of the Harlem Renaissance into the Great Depression were likely the most important black American generation of the 20th century. They were the generation of the civil rights and black power movements,of Rosa Parks,Martin Luther King Jr,Malcolm X,Bobby Seale and Huey Newton. When there’s such a spiraling level of positive change going on? It’s always helpful to have a sage maternal figure with a kindly dignity speaking of it in the literary sense. Maya was that person. And this deeply rooted nature of hers is dripping from this song like tears of tremendous joy.
Lyrically Angelou’s poem about the human family displays a series of situations in which people can possibly relate-at one point stating that while some are serious,others live for comedy. But either way? The reception of important values are still there. The central point of the song is Angelou’s statement “in minor ways we differ,in major we’re the same”. While her very musical style of poetry comes to full flower there,using the internal comparison between the differences in major and minor chords on a musical instrument? The song is the idea statement for understanding differences rather than trying to homogenize them to your personal liking. At a time when America has just started recovering from the onslaughts of racism denials and fears over matters such as the Ferguson shooting of Michael Brown and the witch hunt of Bill Cosby at the end of last year? This shows that even in death,Maya Angelou’s message still has the power to help heal the hearts and minds of the people.