Bashin' - The Unpredictable Jimmy Smith (2026 Remaster) Jimmy Smith

• 1 Walk On The Wild Side (Remastered) 05:50
• 2 Ol' Man River (Remastered) 03:57
• 3 In A Mellow Tone (Album Version) (Remastered) 04:23
• 4 Step Right Up (Album Version) (Remastered) 04:10
• 5 Beggar For The Blues (Album Version) (Remastered) 07:25
• 6 Bashin' (Remastered) 06:12
• 7 I'm An Old Cowhand (From The Rio Grande) (Remastered) 06:05
• Total Runtime 38:02

Info for Bashin' - The Unpredictable Jimmy Smith (2026 Remaster)

Experience the groundbreaking jazz organist at his finest with “Bashin’ – The Unpredictable Jimmy Smith,” a timeless album that has reshaped the landscape of jazz organ music.

Bashin’ was Smith’s first album for Verve, recorded in 1962. It features Smith flexing his Hammond B-3 skills across two very different configurations. The first four songs are performed with an Oliver Nelson-conducted big band that featured future Tonight Show band members Doc Severinsen and drummer Ed Shaughnessy. The latter three tracks feature Smith’s usual trio with Quentin Warren (guitar) and Donald Bailey (drums).

This historic set marked a turning point for Smith’s career, with the instrumental track “Walk on the Wild Side” becoming his biggest hit to that point, reaching #21 on Billboard’s Hot 100 chart. That same year, the original version of the song, performed by Brook Benton, was nominated for an Oscar as a theme for a film of the same name.

Organ Grinder Swing was released in mid-1965 and saw Smith take a break from the typical big band sessions he’d been doing for Verve. He built a pared-down trio consisting of Kenny Burrell (guitar) and Grady Tate (drums) for a performance of blues and jazz standards, as well as Smith’s own “Blues For J.” Organ Grinder Swing was the second-highest-charting album of Smith’s career, reaching number 15 on the US Billboard 200 charts. It was on the charts for 31 weeks.

In December, Blue Note Records will reissue Smith’s 1958 album House Party as part of their Classic Vinyl Series. The freewheeling session touches on bebop, blues, and standards and features Lee Morgan (trumpet), Curtis Fuller (trombone), Lou Donaldson and George Coleman (alto sax), Tina Brooks (tenor sax), Kenny Burrell and Eddie McFadden (guitar), and Art Blakey and Donald Bailey (drums).

"Although still a regular Blue Note artist (he would make four more albums for the company within the next year), Bashin’ was organist Jimmy Smith’s debut for Verve, a label that he would record extensively for during 1963-1972. On the first half of the program, Smith was for the first time joined by a big band. Oliver Nelson provided the arrangements, trumpeter Joe Newman and altoist Phil Woods have a solo apiece, and “Walk on the Wild Side” became Smith’s biggest hit up to that point. The final three numbers feature Smith’s regular trio with guitarist Quentin Warren and drummer Donald Bailey swinging with soul as usual." (AMG)

Jimmy Smith, Hammond B-3 organ
Oliver Nelson, arranger conductor
Joe Newman, trumpet
Doc Severinsen, trumpet
Joe Wilder, trumpet
Ernie Royal, trumpet
Tommy Mitchell, bass trombone
Jimmy Cleveland, trombone
Urbie Green, trombone
Britt Woodman, trombone
Babe Clarke, tenor saxophone
Robert Ashton, tenor saxophone
Gerry Dodgion, alto saxophone
Phil Woods, alto saxophone
George Barrow, baritone saxophone
Barry Galbraith, guitar
Jimmy Warren, guitar
Ed Shaughnessy, drums
Don Bailey, drums
George Duvivier, bass

Recorded in New York, March 26 & 28, 1962

Digitally remastered

Jimmy Smith
It is one of the classic injustices of the music business that credit is not always given where credit is due. The past few years have seen a huge resurgence in the popularity of the Hammond B3 organ. Artists like Medeski, Martin and Wood are now bringing the B3 back into the public eye especially to a younger audience. A mass of wood, pedals, stops and keys, the B3 is not an easy instrument to play but its sweet distinct sound is unmistakable. Not surprisingly, many listeners are unaware of the man who is truly the master of the B3: Jimmy Smith. Smith has not received the attention that his legacy and talents so richly deserve. Until now.

Dot Com Blues (Blue Thumb) is the new album by the supreme organist in music today. Featuring an all-star cast of supporting musicians including B.B. King, Etta James, Taj Mahal, Dr. John, and Keb Mo, Dot Com Blues proves that though Smith is often thought off as only a jazz organist, he can play the blues with the best of them, which he does literally on this album!

'When we speak about the Hammond B3,' states Ron Goldstein, President of The Verve Music Group who worked closely with Smith on Dot Com Blues, 'there is nobody better than Jimmy. Though the organ faded into obscurity for a while, now it's on everybody's records! I thought, 'why should the man who is the master remain in obscurity?' I figured the best way to swing the spotlight back around to Jimmy was to have him cut something outside of the jazz marketplace. Why not the blues?'

Goldstein brought in friend and producer John Porter, who has worked behind the boards with an eclectic range of musical acts, from The Smiths to The Go-Go's to John Lee Hooker & Eric Clapton. He's produced five GRAMMY -winning albums, and has also graced several breakthrough crossover blues albums; most notably Taj Mahal's acclaimed Phantom Blues and B.B. King's award-winning, all-star project, Deuces Wild. The result is an extra special, well-rounded, bluesy 11-song Jimmy Smith album that definitely stands up to his finest works.

Each and every track on Dot Com Blues sparkles with the spontaneity and chemistry that filled the studio. Gathering all this talent in the same recording studio was a rare feat. (Don Was and Bette Midler, who were cutting a record next door, stopped by just to watch.) A man of few words, Smith succinctly, but jokingly, described Etta as 'fun,' Taj as 'crazy,' and Dr. John as 'a mess.' With Smith on organ, Harvey Mason on drums, Verve labelmate Russell Malone on guitar, and Reggie McBride on bass, the core band sounds as if they've been playing together for years.

The album kicks off with 'Only In It for the Money,' featuring the inimitable Dr. John on vocals and piano. Smith opens the up-tempo shuffle with his trademark blazing organ licks. Next up is the organist's own tune, the funky instrumental '8 Counts for Rita,' which has standout solos from Smith and Malone, along with the added flavor of Lenny Castro's percussion.

Taj Mahal delivers a scintillating performance on his composition 'Strut.' Comping tastefully behind Taj and Smith for most of the tune, Malone steps to the forefront for a searing solo that is one of the album's high points. Smith grabs the spotlight on the next track, the blues perennial 'C.C. Rider.'

In a true meeting of legends, Etta James offers up a smoldering vocal on Willie Dixon's 'I Just Wanna Make Love To You,' confirming that her vocal chords are clearly as strong as ever. Smith's spry playing on this track is ably assisted by the Texicali Horns and Was (Not Was) vocalists Sir Harry Bowens and Sweet Pea Atkinson.

The tone of the album shifts wonderfully for the next track to Duke Ellington's 'Mood Indigo'. While listening to playbacks during the session, Smith dozed off momentarily and when he awoke, he immediately corralled the other musicians (including the fabulous John Clayton on upright bass) back into the studio to cut a strong, spontaneous version of this standard.

Contemporary blues star Keb Mo, a longtime Smith fan, was thrilled to contribute his vocals and guitar licks to Smith's lowdown rendition of Keb's newly-penned 'Over and Over.' B.B. King was also happy to team up with Smith, and their collaboration, 'Three O'Clock Blues,' finds the old friends reuniting and proving why they are living legends.

The disc's title track, 'Dot Com Blues,' is inspired by Jimmy's observations on the troubles our high-tech world has created. It not only features classic Smith organ work, but another stand-out solo by Malone as well. This track is followed by the funky instrumental 'Mr. Johnson' which again pairs Smith with Dr. John. The latter's influence is clear as the tune features a classic New Orleans vibe.

Dot Com Blues concludes, fittingly, with 'Tuition Blues,' a slow blues and showcase for Smith's peerless organ prowess; he's still capable of stunning listeners.

Switching into a blues gear in the new millenium, Smith makes the jump to the Verve Music Group's eclectic Blue Thumb label for this new record. By showcasing his enormous talents and including a few old friends, Jimmy Smith's Dot Com Blues should finally bring this master musician the recognition he deserves.

This album contains no booklet.