Customer Reviews

Back at the Chicken Shack (24bt)

5 star:		(22)
4 star:		(8)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

First things first: ignore the low average rating for this album -- this is one of Jimmy Smith's best (maybe THE best) albums and a major jewel in the crown of Blue Note records. It's not funky in the James Brown sense, it's funky in the heaps-and-heaps-of-soul, a-groove-six-feet-deep, "What the hell is happening back at that chicken shack?" sense.

As far as groovin', bluesy B3 jazz, you really can't do better than this album. Donald Bailey has a heavy, booting swing and Jimmy Smith's chunky basslines propel the music along. Kenny Burrell's playing is beautiful here -- very subtle and tasteful, the yin to Jimmy Smith's powerful organ yang. And as far as I'm concerned, tenor saxophonist Stanley Turrentine is lifted to deity status by his playing on this session. Saxophone playing doesn't get any more soulful and meaty than this.

The title track is just a blues, but what a blues it is. Jimmy digs in with the riff, Kenny plays one of his marvelous, low-key solos, and then Turrentine makes history with an absolutely mind-boggling huffin' and puffin' solo. Even the standards on this CD (classic interpretations of "When I Grow too Old to Dream" and "On the Sunny Side of the Street") sound bluesy. And despite the fact that the title track is the most famous piece here, I think "Messy Bessie" is the best here. Judging by the song, she must be a fun girl to hang around.

If you like this album, get its twin (recorded the same day), Midnight Special. Other great Jimmy Smith albums are Crazy! Baby, the Sermon, and Cool Blues. But I don't think any of them are as awesome as whatever the hell is going on Back at the Chicken Shack.

I agree 100% with Guy from New Haven. And even though I don't possess all of Jimmy's albums, this has to be his best... Maybe the the best jazz album ever!!! Never heard anything so groovy; it's B3 organ, Tenor Sax and good rhythm galore!!!

I don't know which track is best because they're all stunning but to name a few, maybe "Minor Chant" by Stanley Turrentine (who brilliantly plays the sax throughout the album), stands out a little... not by much though. "When I grow too old to dream": what a sweet melody!... Messy Bessie (by Jimmy) is so good, I would have appreciated a finale instead of the fade-out we got (but that's okay). And technically, the 1960's Blue Note pure, clear, and no-fuss analog recording sounds flawless.

If you're jaded with the traditional organ-drums-guitar formation, check this out because tenor saxophone truly adds a uniquely elegant and amazingly powerful dimension to Jimmy's already great sound! This will put a smile on your face and make your head bounce!

What's there to say about Jimmy Smith that has not already been written? He's a true jazz pioneer, the "Miles Davis" of the Hammond (electric) organ, one might say. Like Davis, Smith has changed his sound drastically over the years, from Hard-Bop of early "Sermon" years, to Soul and eventually even Big Band style. But unlike Miles Davis or John Coltrane, Jimmy Smith is virtually unknown outside of jazz circles. This is truly unfortunate (and surprising), given the fact that so many rock and roll bands have used the Hammond B-3 organ in their songs over the past three decades. If it wasn't for Smith, the instrument would arguably not have as widespread appeal among musicians. On this album, widely regarded as his strongest, Smith's playing is groovy and laid back, but not in a lazy way. Continuing with the Miles Davis analogy (because everyone, even non jazz-enthusiasts, are familiar with Davis' work), consider this Smith's version of "Kind of Blue." It's cool, calm, and collected. But at the same time, Smith accents the entire thing with a heavy dose of straight-up soul. Smith, who has had one of the most prolific careers of anyone, deserves more recognition and credit for his work in the genre. But until that happens, there will be plenty of jazz fans grooving to this album, waiting to say, "See, we told you so" to the rest of the music world.

I've NEVER been able to stand the sound of an organ before (any genre). I've seen Mr. Smith's albums in the stores on numerous occasions, but have always shied away 'cause of the organ. Recently though, I heard a jazz tune featuring an organ and decided to give Mr. Smith a try-the swinging/bluesy feel of this music has put this recent purchase into heavy rotation.

Back in the Chicken Shack is definitely on my top 5 Jimmy Smith albums of all time, it's up there with the Sermon, the Cat, and Bashin'. It is organ jazz at its best, Smith's style is brought to its best through these grooves with the legendary jazz guitarist Kenny Burrell backing him up on guitar like usual. Jimmy runs many funky grooves and licks on the organ that showcase the B3 for the true masterpiece of jazz that it is. Although Back at the Chicken Shack is a mile ahead of all the other songs on this album, they still are great nonetheless. Overall, this is one of the best albums put forth by the greatest jazz organist in the history of jazz, and is a must own for any smith or even jazz fan. Plus this version is new and remastered, making the organ sound twice as clean.

Nice, groovy and warm collection of music. It goes with almost every occasion. I've heard this album a few years ago and liked instantly, I really don't know why I haven't bought it sooner. For me this is cocktail jazz, the kind of music you listen to when you're through the first couple of hours of a nice evening, and the drinks are just beginnig to kick. Five stars.

Heres the fabulous Jimmy Smith playing Hammond B3 and driving a top notch band along. The title track is drenched in the blues, and after the theme statement Smith plays a superb two and half minutes solo. Then of course there is Kenny Burrell on Guitar and Stanley Turrentine on Tenor Sax who are no slouches themselves.

On "When I grow too old to dream" Jimmy Smith lets Turrentine take the first solo and after a subtle start to his Sax solo he builds up quite a head of steam. After a short Smith solo Turrentine is back for more with another solo. Its that sort of album. I'm guessing that they were having great fun in the studio when they recorded this. The rest of the album maintains the same high standard of the first two tracks.

The album was recorded in 1960 and of course has another of those classic Blue Note album covers. The original sleeve notes by Ira Gitler give plenty of background information on the album including how the album cover came about. A great recording.

Jimmy's music still sounds so fresh on this album. The lengthy tracks make it a good background sound to put you in a relaxed and happy mood. Pour yourself a Manhattan, sit back and enjoy!

don't get me wrong, I love this album. What I don't care for is the fact that many reviewers see this album as the greatest bit of B-3 jamming ever, when in reality, Jimmy Smith is usually in the "Back" of this here shack. Saxaphonist Stanely Turrentine has more solo time (which is time well spent) on the album than Smith does, which is a fact that so many seem to overlook. If you want a fairly laid back, slightly funky jam album, buy this. If you want a smokin' funk-out on the B-3, I recommend Smith's "Root Down Live!" or Reuben Wilson's "Blue Breakbeats."

This is the remaster by RVG, 24 bit transfer reissue produced by Michael Cuscuna I have been comparing to my friend's 1987 transfer by Ron McMaster also produced by Michael Cuscuna.

Apart from the fact that the remaster is much louder and compressed, I was staggered at the difference. Stanley Turrentine's sax is so important to many tracks and drives the rhythm as much as the rhythm section itself but it has lost much of its exquisite contrasting soft/hard expressive qualities, almost like it's been added on top in the new version. Everyone seems to be playing in isolation and the drums are so much louder in the mix I can't believe this was all done with only a 2 track master, that is quite an achievement. Even the organ has lost much of it's "watery" quality. There's just no space left, most of the exquisite pauses are missing, dynamics and much of the texture are all gone. To make everything worse the noise floor even sounds way higher.