11190 - DR. LONNIE SMITH - EVOLUTION (2016)

DR. LONNIE SMITH
''EVOLUTION''
JANUARY 29 2016
63:20
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1 Play It Back (featuring Robert Glasper) 14:04
2 Afrodesia (featuring Joe Lovano) 08:20
3 For Heaven's Sake (featuring Joe Lovano) 05:51
4 Straight No Chaser 06:42 (Thelonious Monk)
5 Talk About This 07:19
6 My Favorite Things 11:09 (Oscar Hammerstein II, Richard Rodgers)
7 African Suite 09:52
Tracks By Dr. Lonnie Smith, Except 4, 6
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Jonathan Blake/Drums
Maurice Brown/Trumpet
Joe Dyson/Drums
Robert Glasper/Featured Artist, Piano
Keyon Harrold/Trumpet
Peter Jessen/Soprano
John Ellis/Clarinet (Bass), Flute, Sax (Tenor)
Jonathan Kreisberg/Guitar
Francois Louis/Mouthpiece
Joe Lovano/Sax (Soprano), Sax (Tenor)
Dr. Lonnie Smith/Arranger, Keyboards, Organ (Hammond)
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REVIEW/AMG
Matt Collar
Since Hammond B-3 specialist Lonnie Smith left Blue Note in the '70s, the largely self-taught musician has added the "Dr." to his name, adopted a traditional Sikh turban as a distinctive, if enigmatic style choice (it's unclear if he follows the religion), and continued to release a steady stream of highly regarded soulful well before the 21st century came around. With 2016's Evolution, Smith returns to Blue Note, his first studio album for the label since 1970's Drives. Produced by Don Was, Evolution is one of the most robust albums of his career. Where his previous few albums found him working in a trio format, on Evolution, Was surrounds Smith with various small group configurations featuring a bevy of post-bop, funk, and soul-ready musicians including drummers Jonathan Blake and Joe Dyson, guitarist Jonathan Kreisberg, trumpeters Keyon Harrold and Maurice Brown, and others. Also joining Smith here are several jazz luminaries including genre-bending pianist Robert Glasper, whose glassy piano tone rubs nicely against Smith's burnished Hammond warmth on "Play It Back." Similarly, saxophonist Joe Lovano, who first made his debut on Smith's 1975 effort Afrodesia, joins in on several cuts, including a reworking of "Afrodesia" and the slow-jam ballad "For Heaven's Sake." While Smith is the star of Evolution, the expanding group sound works well with his expansive approach to funk-jazz and the cuts with Harrold and Brown bring to mind the energetic hip-hop-inflected jazz of the Roots. Ultimately, it's Smith's juicy, nuanced, Hammond B-3 sound, deepened by over 50 years of experience, that makes Evolution such a career pinnacle.
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BIOGRAPHY/AMG
Alex Henderson
Alligator Boogaloo
Organist Lonnie Smith has often been confused with keyboardist/pianist Lonnie Liston Smith -- and, in fact, more than a few retailers have wrongly assumed that they're one and the same. In the mid-'60s, the Hammond hero earned recognition for his membership in George Benson's classic quartet before going on to play with Lou Donaldson (contributing some memorable solos to the alto saxman's hit 1967 album Alligator Bogaloo) and recording enjoyable dates of his own for Blue Note. For all their accessibility and commercial appeal, funk-influenced Smith sessions like 1968's Think and 1970's Drives showed that he could be quite imaginative.

Smith, who later became Dr. Lonnie Smith (for "no particular reason," the same reason he gives for why he always wears a traditional Sikh turban), remained an inspired representative of soul-jazz, releasing his own albums like 1993's Afro Blue, and continuing his long association with Donaldson.

Boogaloo to Beck: A Tribute
The 21st century saw him step up the pace, releasing several albums, including a tribute to Beck, 2003's Boogaloo to Beck; an album of reworked and modernized jazz standards, 2006's Jungle Soul; and 2009's Rise Up! Smith and his trio members -- Jonathan Kreisberg, guitar; Jamire Williams, drums -- continued a relentless and tireless touring and recording schedule; he issued Spiral on 2010 on Palmetto with Matt Balitsaris producing. The live album, Healer, followed in 2012.

Evolution
In 2016, Smith delivered the Don Was-produced Evolution. Smith's first album for Blue Note since 1970's Drives, it featured guest appearances from saxophonist Joe Lovano, pianist Robert Glasper, and others.
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WEBSITE
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TO THE TOP
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10623 - LONNIE SMITH TRIO - FOXY LADY: TRIBUTE TO JIMI HENDRIX (1994)

LONNIE SMITH TRIO
''FOXY LADY: TRIBUTE TO JIMI HENDRIX''
1994
56:11

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1 Foxy Lady 09:54 (Hendrix)
2 Castles Made Of Sand; Star Spangled Banner 23:32 (Hendrix; Traditional)
3 Third Stone From The Sun 13:06 (Hendrix)
4 Jimi Meets Miles 09:37 (Lonnie Smith)

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Lonnie Smith/Organ
John Abercrombie/Electric Guitar
Marvin "Smitty" Smith/Drums

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BIOGRAPHY/AMG
Alex Henderson
Organist Lonnie Smith has often been confused with keyboardist/pianist Lonnie Liston Smith -- and, in fact, more than a few retailers have wrongly assumed that they're one and the same. In the mid-'60s, the Hammond hero earned recognition for his membership in George Benson's classic quartet before going on to play with Lou Donaldson (contributing some memorable solos to the alto saxman's hit 1967 album Alligator Bogaloo) and recording enjoyable dates of his own for Blue Note. For all their accessibility and commercial appeal, funk-influenced Smith sessions like 1968's Think and 1970's Drives showed that he could be quite imaginative. Smith, who later became Dr. Lonnie Smith (for "no particular reason," the same reason he gives for why he always wears a turban), remained an inspired representative of soul-jazz and did some solid work with Donaldson in the '90s. The 21st century saw him step up the pace, releasing several albums, including a tribute to Beck, 2003's Boogaloo to Beck; an album of reworked and modernized jazz standards, 2006's Jungle Soul; and 2009's Rise Up! Smith and his trio members -- Jonathan Kreisberg, guitar; Jamire Williams, drums -- continued a relentless and tireless touring and recording schedule; he issued Spiral on 2010 on Palmetto with Matt Balitsaris producing.

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TO THE TOP

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7677 - DR. LONNIE SMITH - Jungle Soul (2006)

DR. LONNIE SMITH
''JUNGLE SOUL''
JULY 11 2006
67:46

1 Trouble Man 5:06
2 Simone 6:45
3 Jungle Soul 6:23
4 Willow Weep for Me 7:44
5 Freedom Jazz Dance /Eddie Harris/ 6:09
6 Blue Moment 8:39
7 Witch Doctor /Lonny Gasperini/ 9:55
8 Bemsha Swing 6:22
9 Zimbabwe 6:11
10 Jungle Wisdom 4:32

DR. LONNIE SMITH - ORGAN
PETER BERNSTEIN - GUITAR
MATT BALITSARIS - GUITAR
ALLISON MILLER - DRUMS, PERCUSSION

REVIEW
by Thom Jurek
When Lonnie Smith cut Boogaloo to Beck in 2003 he made a comeback, though he was never gone in the first place. That record's deeply grooving, funky soul-jazz cut to the chase in a way many jazz organ records hadn't by taking the Blue Note aesthetic of turning the pop tunes of the day -- even those as esoteric as Beck Hansen's -- and turning them into vehicles for jazz improvisation. On Jungle Soul, the great organist and his quartet -- Peter Bernstein on guitar, drummer and percussionist Allison Miller, and rhythm guitarist/producer Matt Balitsaris -- tackle some jazz standards -- "Bemsha Swing," "Willow Weep for Me," and Eddie Harris' bona fide soul-jazz classic "Freedom Jazz Dancer" -- and place them against Marvin Gaye's "Trouble Man," and a handful of Smith originals and come up with a stunner. As the band digs deep into funky twists and turns on the Gaye number, they come out all sleek and smoky on "Simone," carrying the cut in a minor groove. The title cut is a Smith tune that swaggers from East to West with an African folk melody held inside a shimmering soul context. The layered percussion in the band's read of Harris' classic keeps the edges and angles of the original, while lending a finger-popping, booty-shaking strut to its backbeat. The interplay between Bernstein and Smith is taut, and full of playful asides. The strange modal guitar part Bernstein plays on "Bemsha Swing" is in stark contrast to Smith's for the note head, but it gives the entire track a late-night quality that's a bit more contemplative and moody than Monk's signature version. But it works beautifully. In sum, Jungle Soul is among the finer post-1970 records that Smith has cut, and this band is one of those intuitive, tight, and instinctive quartet's that understands their leader's every move.

BIOGRAPHY
BY OFFICIAL SITE
Dr. Lonnie Smith is an unparalleled musician, composer, performer and recording artist. An authentic master and guru of the Hammond B-3 organ for over five decades, he has been featured on over seventy albums, and has recorded and performed with a virtual “Who’s Who” of the greatest jazz, blues and R&B giants in the industry. Consequently, he has often been hailed as a “Legend,” a “Living Musical Icon,” and as the most creative jazz organist by a slew of music publications. Jazz Times magazine describes him as “a riddle wrapped in an enigma wrapped in a turban!” Always ahead of the curve, it is no surprise Dr. Smith’s fan-base is truly worldwide.

Born in Buffalo, New York, Lonnie was blessed with the gift of music. Through his mother, he was immersed in gospel, blues and jazz at an early age. In his teens, he sang in several vocal groups including his own–the Supremes–formed long before Motown’s eventual iconic act of the same name. Lonnie also played trumpet and other instruments at school and was a featured soloist. In the late ‘50s– with the encouragement of Art Kubera, who owned a local music store that he would visit daily–young Lonnie was given the opportunity to learn how to play a Hammond organ. By completely immersing himself in the records of organists such as Wild Bill Davis, Bill Doggett and Jimmy Smith, as well as paying rapt attention to the church organ, a young Lonnie began to find his musical voice. “Even though I didn’t know how, I was able to play right from the beginning,” Dr. Smith reflects. “I learned how to work the stops and that was it. It’s a passion for me, so everything else came naturally.” Because of Mr. Kubera’s kindness, Dr. Lonnie often refers to Art as his “angel.”

The Doctor’s first gigs were at Buffalo’s hottest jazz club, the Pine Grill, where he rapidly garnered the attention of folks like Jack McDuff, Lou Donaldson, George Benson and the booking agent Jimmy Boyd. George Benson was looking for an organist for his quartet and enlisted Lonnie. The group soon relocated to New York City, where they quickly established a reputation as innovators in Harlem clubs and throughout the area. After appearing on several Benson albums, Lonnie went on to make his first recording as a leader—Finger Lickin’ Good–for Columbia Records in 1966. Shortly thereafter, Smith was scooped up to record by saxophonist Lou Donaldson, for whom Lonnie would appear on several epic Blue Note LPs, including the million-seller, Alligator Boogaloo. Blue Note clearly liked what they heard and inked the organist to his own recording contract, a deal which would produce the soul jazz classics Think!, Turning Point, Move Your Hand, Drives and Live at Club Mozambique (released many years later).

Since leaving the Blue Note stable in the ‘70s, Dr. Smith has recorded for a slew of record labels, including Kudu, Groove Merchant, T.K., Scufflin’, Criss Cross and Palmetto, ascending the charts many times. His unpredictable, insatiable musical taste illustrates that no genre is safe, as Lonnie has recorded everything from covers of the Beatles, the Stylistics and the Eurythmics, to tribute albums of Jimi Hendrix, John Coltrane and Beck–all by employing ensembles ranging from a trio to a fifteen-piece big band. Moreover, many of Doc’s recent compositions reflect dramatic ethereal qualities and orchestration that elicit movie scores or soundtracks.

Dr. Smith has been amused to find himself sampled in rap, dance and house grooves while being credited as a forefather of acid jazz. When questioned about his consistent interest in music some consider outside the jazz “mainstream,” Lonnie shrugs. “Jazz is American Classical,” he proclaims. “And this music is a reflection of what’s happening at the time… The organ is like the sunlight, rain and thunder…it’s all the worldly sounds to me!”

And worldly awards have followed. Since 1969, when Downbeat magazine named him “Top Organist” of that year, Dr. Lonnie Smith has won a plethora of critics’ polls as the world’s premier organist/keyboardist. Moreover, he was recently inducted into the Buffalo Music Hall of Fame, as well as the Jazz Organ Fellowship’s Hall of Fame. In 2012, Dr, Smith launched his own record label Pilgrimage Productions. The Healer, a live recording of Doc’s trio is the first release on his label.


OFFICIAL SITE

5146 - DR. LONNIE SMITH - Rise Up (2009)

DR. LONNIE SMITH
''RISE UP!''
FEBRUARY 17 2009
61:39

1/A Matterapat
Smith/6:46
2/Come Together
John Lennon / Paul McCartney/5:07
3/Pilgrimage
Smith/6:49
4/Dapper Dan
Smith/7:21
5/And the World Weeps
Smith/7:39
6/People Make the World Go Round
Bell / Epstein/10:42
7/Tyrone
Young/6:15
8/Sweet Dreams
Annie Lennox / Dave Stewart/6:47
9/Voodoo Dolls
Smith/4:42

Dr. Lone Smith/Hammond Organ, Vocals
Peter Bernstein/Guitar
Donald Harrison/Alto Sax
Herlin Riley/Drums
James Shipp/Percussion On 2, 3, 4, 6, 9
Matt Balitsaris/Additional Guitars On 1, 2, 6, 8
Jo Lawry/Additional Vocals On 5
Doc, Jo Lawry, James Shipp, Pat Rustici, Natasha Zaikina/Hanclap Choir

REVIEW
by Thom Jurek
Who says you have to slow down as you get older? The honorable B-3 master, Dr. Lonnie Smith, has been on a renaissance tear since the beginning of the 21st century. Rise Up! is the fifth new recording since 2000, and there have been a number of reissues of his older work to boot. Given that some artists issue a record a year, this may not seem like such a terrific feat -- but appearances are deceiving. Smith recorded only 13 albums between 1966 and 1996, so five in nine years is actually prolific. It's not only the quantity, however, it's the consistency of the quality of the records Smith has been releasing that is outstanding, and Rise Up! is no exception.
Ever since 2000's Turbanator and 2003's Boogaloo to Beck: A Tribute, Smith has packed his records with covers and originals that accent the "soul" in the deep, wide tradition of soul-jazz. Sure, he's funky, he's got chops, grooves, and tricks, and he's surrounded himself with compelling musicians from Jimmy Ponder to David "Fathead" Newman to great effect. Since 2003 he's been working with guitarist and producer Matt Balitsaris and the results have been, and remain, electrifying. This set, with guitarist Peter Bernstein, saxophonist Donald Harrison, and drummer Herlin Riley -- with extra help on a couple of cuts from Balitsaris and percussionist James Shipp -- is one of his most realized, funky, and resonant dates yet. The set jumps off with Smith's original "Matterapat,"showcasing the smoking Latin percussion of Shipp and taut, off-kilter breaks from Riley, the front line is all knotty soul and blues. The theme is greasy and in the pocket; Harrison's solo moves effortlessly from post-bop to soul. The cover of the Beatles' "Come Together" that follows is even nastier, with Smith's below-the-basement vocal growl on the first verse all but indecipherable except as a snarling rap. It's another instrument in this band's arsenal. This is a slow bump and funky grind with a big payoff. "Pilgrimage" begins as a ballad but quickly asserts itself as a cooker thanks to Riley playing counterpoint breaks to Smith's B-3. Other covers that appear -- and are reinvented in Smith's musical vocabulary -- are the Eurythmics' "Sweet Dreams," which commences, seemingly, as an astral afterthought but finds a deep percussive bottom end and a spooky articulation of the melody that is all rhythm based. One can guarantee that the version of "People Make the World Go 'Round" found here is unlike any other that exists. It's the longest cut on the set and builds itself right from a lithe, breezy funk groove with a poppin' set of rimshot breakbeats from Riley. Harrison is the perfect foil for Smith because of his lyric sensibility; it is the perfect counter to the percussive groove quotient of Smith. The solos here are wonderfully complex and sophisticated and the use of harmonic extension in the ensemble's reading is pure magic. The set ends on an atmospheric blues tip with Smith's "Voodoo Doll," where Harrison's alto plays it straight out of the noir-ish dark and into the shadows where traces of light emerge. Smith's comping and eventually structural form for the tune transforms it into a swirling, shimmering heat with Bernstein's guitar erecting a pulsing bridge for Riley. It's a killer way to end a record. For B-3 fans, Rise Up! is nothing but solid in terms of tunes, arrangements, and heat.

BIOGRAPHY
by Alex Henderson
Organist Lonnie Smith has often been confused with keyboardist/pianist Lonnie Liston Smith -- and, in fact, more than a few retailers have wrongly assumed that they're one and the same. In the mid-'60s, the Hammond hero earned recognition for his membership in George Benson's classic quartet before going on to play with Lou Donaldson (contributing some memorable solos to the alto saxman's hit 1967 album Alligator Bogaloo) and recording enjoyable dates of his own for Blue Note. For all their accessibility and commercial appeal, funk-influenced Smith sessions like 1968's Think and 1970's Drives showed that he could be quite imaginative. Smith, who later became Dr. Lonnie Smith (for "no particular reason," the same reason he gives for why he always wears a turban), remained an inspired representative of soul-jazz and did some solid work with Donaldson in the '90s. The 21st century saw him step up the pace, releasing several albums, including a tribute to Beck, 2003's Boogaloo to Beck; an album of reworked and modernized jazz standards, 2006's Jungle Soul; and 2009's Rise Up! Smith and his trio members -- Jonathan Kreisberg, guitar; Jamire Williams, drums -- continued a relentless and tireless touring and recording schedule; he issued Spiral on 2010 on Palmetto with Matt Balitsaris producing.
DoWnLoAd