Personnel includes: Jimmy Smith (organ); Oliver Nelson (saxophone); Kenny Burrell, George Benson, Wes Montgomery (guitar).
Personnel: Jimmy Smith (organ); Eric Gale , Bill Suyker, George Benson , Vincent Bell, Howard Roberts , Kenny Burrell, Arthur Adams , Barry Galbraith, Wes Montgomery, Billy Butler, Quentin Warren (guitar); Margaret Ross (harp); Jerome Richardson (flute, clarinet, woodwinds, alto saxophone, baritone saxophone); Steve Williams , Buddy Lucas (harmonica); Danny Bank (bass clarinet, woodwinds, baritone saxophone); Phil Woods, George Dorsey (woodwinds, alto saxophone); Bob Ashton (woodwinds, tenor saxophone); Jack Agee, Plas Johnson , Tom Scott, Harvey Estrin, Budd Johnson (woodwinds); Al Cohn, Babe Clarke, Zoot Sims, Romeo Penque (tenor saxophone); George Barrow (baritone saxophone); Clark Terry, Joe Newman (trumpet, flugelhorn); Conte Candoli, Doc Severinsen, Ernie Royal, Danny Stiles, Joe Wilder, Snooky Young, Bernie Glow, Thad Jones, Jimmy Maxwell, Buddy Childers (trumpet); Donald Corrado, Morris Secon, Bill Correa, Willie Ruff, James Buffington, Earl Chapin, Ray Alonge (French horn); Dick Hixson, Jimmy Cleveland, Melba Liston, Quentin Jackson, Tom McIntosh, Urbie Green, Billy Byers, Chauncey Welsch, Ernie Tack, Britt Woodman (trombone); Tony Studd, Paul Faulise (bass trombone); Harvey Phillips, Don Butterfield (tuba); Donald Bailey , Grady Tate, Mel Lewis, Paul Humphrey , Bernard "Pretty" Purdie, Ed Shaughnessy, Billy Hart (drums); Buck Clarke (congas, percussion); George Devens, Larry Bunker, Phil Kraus , Ray Barretto, Bobby Rosengarden (percussion).
Liner Note Author: Carl Woideck.
Recording information: A&R Studios, New York, NY (1962-1973); NY, NY (1962-1973); United Records, LA, CA (1962-1973); Van Gelder Studios, Englewood Cliffs, NJ (1962-1973); Village Gate, NY (1962-1973).
Editor: Peter Pullman.
Photographer: Chuck Stewart.
Arrangers: Johnny Pate; Lalo Schifrin ; Oliver Nelson; Billy Byers.
Jimmy Smith is to the organ what Charlie Christian is to the guitar: the man who redefined the instrument in a jazz context. Smith's visceral, blues-inflected style fully came into its own on his 1960s Verve recordings, and WALK ON THE WILD SIDE is a two-disc set that cherry-picks some of the finest moments from that era (while dipping into the '70s as well). Smith helped perfect the organ-trio format in jazz (organ, guitar, drums), and there are some stellar examples of that approach (many featuring the fluid fretwork of Kenny Burrell), but he's heard in other contexts here as well, such as the brassy, big-band arrangements of the title track, among others.
"Got My Mojo Workin'" and "St. James Infirmary" make Smith's debt to the blues clear, as he spins out terse, assertive phrases whose harmonic simplicity goes hand-in-hand with their deep soulfulness. At the same time, though, Smith is fully capable of fleet-fingered, daringly constructed excursions, and it's the combination of the two that makes Smith a legend and WALK ON THE WILD SIDE a striking document.