Customer Reviews

Plays Fats Waller

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This album is not a cooking soul-jazz or hard-bop session, which may be what some of the other reviewers were expecting. I admit, I even expected a bit more classic Jimmy Smith sound here (speedy lines and huge climaxes are conspicuously not present), but frankly this album's deeply laid back approach is very well executed to say the least. Considering the collaborations Smith led with soul jazzers like Stanley Turrentine at this time, this must have seemed a change of pace in 1962 as well.

Some have pointed to this program's oddly low proportion of actual Fats Waller tunes, but most jazz artists, including Waller, are best remembered through strong compositions of their own, and standards that they made their own. Sonny Rollins did a Bird tribute on Prestige without even one of Charlie Parkers compositions explicitly played, and easily pulled it off, this album would be too concept-y and monotonous if it kept exclusively to tunes Waller wrote, whilst ignoring obvious choices such as Lulu's Back in Town.

This is far from my favorite Jimmy Smith album, and certainly not on the short list of his strongest, but when I saw the relatively negative reviews posted here, it became clear one thing needed to be addressed- this album is successful in the goal its title sets out, and is very enjoyable along the way. Jimmy is with his working group (a wise choice) and the prevailing atmosphere is one of extreme comfortability. Unlike other dates from this time, the songs have a wide range of different progressions, and are not all blues-based, and its nice to hear Smith negotiate some swing-era type tunes.

The remastering here is fine, if not arresting.The organ somehow sounds very distant, which actually gives you a nice sense of space more than anything else, and the album is very much in Stereo (the RVG edition).

I became a Jimmy Smith fan long ago, and I have listened to nearly everything Fats Waller recorded. Smith, who re-defined jazz organ in the 1950s and '60s, never recorded a bad album. This brief album will please Smith completists with its unique selection of classic tunes; and might disappoint Waller enthusiasts who expect a more energetic tribute.

Fats Waller recorded over 600 songs, so any tribute album must be selective. However, this album is just plain skimpy, logging in at a mere 35 minutes. The CD has room for another whole album.

Pianist and composer Fats Waller (1904-43) was also the first organist in jazz (and called the organ a "God box"). Additionally, Waller wrote 300+ songs. Only two of the seven selections here were written by Waller, although all had been recorded by him.

This brief CD has Smith playing hits of an earlier era, but it is light on swing and short on energy. Fats Waller swung as hard as any pianist ever and his left hand had enormous power and drive. Here, Smith never attempts to play anything resembling stride and seldom uses his left hand other than to change registration. There are few of the rapid runs you might expect from Smith (or Waller), none of the effervescence you would hope for in a Waller tribute. This is not terrible music, but it is sparse and laid back.

The superb (and still active in 2010) drummer Donald Bailey provides tasteful timekeeping, but never gets a chance to solo or have meaningful interchanges with Smith. Rhythm guitarist Quentin Warren offers workman-like support, but never solos.

Bottom Line: This album might deserve more stars if there were more selections. Smith collectors and curiosity seekers might love owning this CD; but, fans of Waller, stride or early jazz should keep looking. There are better Smith CDs and better Waller tribute CDs. ***1/2.

Better Options: To hear Smith at his best, consider The Sermon. Smith shines when challenged by Lee Morgan (trumpet) and George Coleman (sax). For a tribute to Fats, consider the Tony Award winning Ain't Misbehavin' (1978 Original Broadway Cast), a passionate romp that captures Waller's exuberance. Or, Lorraine Feather's New York City Drag with stunning keyboard work by Dick Hyman and Mike Lane. Or, the upbeat Sweet Sue by Ralph Sutton. Happy listening!

Is this what you would expect from the meeting of the two mighty ones? Not entirely. The material is certainly there in the Fats Waller music and the playing skills of the organ-meister. But somehow it didn't hit the heights I expected not acheive the depth of tone richness we have come to expect from Jimmy Smith works. I think a great deal of this was down to a very basic remastering that left the sound in mono which was offputting to say the least. Feel a bit cheated by what was a very ordinary production.