LOU DONALDSON — Alligator Bogaloo (1967-2014) RM | SHM-CD | Blue Note, The Masterworks Series | FLAC (tracks+.cue), lossless

Alligator Bogaloo is one example of Lou Donaldson's successful combinations of hard bop and soul-jazz. Of the six tunes, three are Donaldson originals, including the title hit. The excellent band, consisting of Melvin Lastin, Sr. on cornet, George Benson on guitar, Lonnie Smith on organ, and Leo Morris on drums, mixes laid-back vamps beneath driving hard bop charts. As the '60s turned into the '70s, Donaldson began shaving off hard bop invention for a more radio-friendly and 45 rpm length, leaving soulful -- yet monotonous -- vamping. At that point, Donaldson's material suffered from a lack of originality. That's not the case on Alligator Bogaloo. Al Campbell
Tracklist :
1     Alligator Boogaloo 6:57
Lou Donaldson    
2     One Cylinder 6:49
Freddie McCoy    
3     The Thang 3:34
Lou Donaldson    
4     Aw Shucks! 7:23
Dr. Lonnie Smith    
5     Rev. Moses 6:28
Lou Donaldson    
6     I Want a Little Girl 4:29
Murray Mencher / Billy Moll
Credits :
Alto Saxophone – Lou Donaldson
Cornet – Melvin Lastie, Sr.
Drums – Leo Morris
Guitar – George Benson
Organ – Lonnie Smith
Recorded By [Recording By] – Rudy Van Gelder

LOU DONALDSON - Mr. Shing-A-Ling (1967-2006) RM | Blue Note 決定盤1500 - 282 | APE (image+.cue), lossless

Lou Donaldson does attempt to loosen up a bit with Mr. Shing-A-Ling, but the whole affair is a bit stilted and misconceived. Not quite the full-fledged electric funk workout that was becoming commonplace for old-guard soul-jazz musicians in the late '60s, but not quite the bop-inflected soul-jazz of the early '60s. either, Mr. Shing-A-Ling falls into a netherworld that won't connect either with jazz purists or fans of grooving jazz-funk. When the group does try to get funky on the record, the results just sound lazy -- there's no spark to the rhythms, or to Donaldson's melody lines, especially on the embarrassing cover of the pop hit "Ode to Billie Joe." When the quintet settles into a midtempo vamp, Donaldson, trumpeter Blue Mitchell, and organist Lonnie Smith do spin out some good solos, but the lack of energy and enthusiasm the group has for the material makes Mr. Shing-A-Ling a bit of a tiring listen. Stephen Thomas Erlewine
Tracklist :
1     Ode to Billie Joe 6'33
Bobbie Gentry    
2     The Humpback 5:28
Lou Donaldson    
3     The Shadow of Your Smile 6:26
Johnny Mandel / Paul Francis Webster    
4     Peepin' 8:21
Lonnie O. Smith    
5     The Kid 11:00
Harold Ousley
Credits :
Alto Saxophone – Lou Donaldson
Drums – Leo Morris
Guitar – Jimmy "Fats" Ponder
Organ – Lonnie Smith
Trumpet – Blue Mitchell

LOU DONALDSON - The Midnight Creeper (1968-2014) RM | SHM-CD | Blue Note, The Masterworks | FLAC (tracks+.cue), lossless |

As he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs -- including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley -- aren't particularly distinguished, but the vibe is important, not the material. And the band -- Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris -- strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps. Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper. He rarely was quite as loose on his late-'60s/early-'70s records as he is here, and that's what makes Midnight Creeper a keeper. Stephen Thomas Erlewine
Tracklist :
1     Midnight Creeper 6:32
Lou Donaldson / Dr. Lonnie Smith    
2     Love Power 7:46
Teddy Vann    
3     Elizabeth 5:37
Lou Donaldson    
4     Bag of Jewels 9:44
Lonnie Liston Smith    
5     Dapper Dan 6:30
Harold Ousley
Credits :
Alto Saxophone – Lou Donaldson
Drums – Leo Morris
Guitar – George Benson
Organ – Lonnie Smith
Recorded By [Recording By] – Rudy Van Gelder
Trumpet – Blue Mitchell

LOU DONALDSON - Pretty Things (1970-1993) FLAC (tracks+.cue), lossless

Lou Donaldson has recorded many strong sessions throughout his career but this CD reissue brings back one of the less-significant ones. Organist Leon Spencer dominates the ensembles, the material is a bit trivial and the altoist/leader uses a baritone sax on some of the selections which makes him sound much less individual than usual. Trumpeter Blue Mitchell's solos and a fine closing jam on "Love" help upgrade the music a bit but there are many better Donaldson recordings to acquire first. Scott Yanow
Tracklist :
1     Tennessee Waltz 6:39
Pee Wee King / Redd Stewart    
2     Curtis' Song 5:48
L. Spencer Jr.    
3     Sassie Lassie 6:35    
H. Ousley
4     Just For a Thrill 5:28
Lil Hardin Armstrong / Don Raye    
5     Pot Belly 8:12
Lou Donaldson    
6     Love 6:04
Milt Gabler / Bert Kaempfert
Credits :
Alto Saxophone – Lou Donaldson
Drums – Idris Muhammad
Electric Bass – Jimmy Lewis
Guitar – Melvin Sparks, Ted Dunbar
Organ – Leon Spencer, Jr., Lonnie Smith
Recorded By – Rudy Van Gelder
Trumpet – Blue Mitchell

LOU DONALDSON - Caracas (1993) FLAC (tracks+.cue), lossless

Lou Donaldson didn't break any new ground in the 1990s; instead, the veteran alto saxophonist excelled by sticking with the type of soul-jazz/hard bop that brought him a lot of commercial success (by jazz standards) in the 1960s. Caracas was recorded in 1993, but it sounds like it could have been recorded 30 years earlier. Regardless, this CD is excellent. Caracas was produced by Bob Porter, who has produced numerous soul-jazz and organ combo dates -- if any producer knows soul-jazz, it's Porter. And not surprisingly, he helps brings out the best in Donaldson, who is joined by organist Dr. Lonnie Smith, drummer Kenny Washington, and the Grant Green-influenced guitarist Peter Bernstein. Donaldson, who was 66 when this CD was recorded, is in fine form on groove-oriented blues (Jimmy Forrest's "Night Train") and romantic ballads (Neal Hefti's "Lil' Darlin'"), as well as one fast bop number: Charlie Parker's "Ornithology." Although the more accessible, groove-oriented stuff is what brought Donaldson the most commercial success, his albums usually contain at least one example of high-speed, Parker-minded bebop and, on Caracas, he acknowledges his Bird roots with "Ornithology." Donaldson will be the first to tell you that he is an instrumentalist first and foremost; however, he does provide the occasional vocal. The enjoyably humorous "Just a Dream (On My Mind)" finds him putting a 1990s spin on lyrics that Chicago blues great Big Bill Broonzy wrote back in the 1930s. Is Caracas essential? Not quite, but it's still a highly rewarding album that will please die-hard soul-jazz enthusiasts. Alex Henderson  
Tracklist :
1     Hot Dog 5:16
Denny Dedmon / Lou Donaldson / Buck Owens    
2     Just a Dream 6:19     
Bill Broonzy    
3     Ornithology 7:07
Benny Harris / Charlie Parker    
4     I Don't Know Why (I Just Do) 4:58
Fred E. Ahlert / Roy Turk    
5     Night Train 9:49
Jimmy Forrest / Lewis Simpkins / Oscar Washington
6     I Be Blue 5:55     
Lonnie Smith
7     Caracas 7:32     
Lou Donaldson    
8     Lil' Darlin' 7:16
Neal Hefti
Credits :
Alto Saxophone – Lou Donaldson
Congas – Ralph Dorsey (pistas: 1, 7)
Drums – Kenny Washington
Guitar – Peter Bernstein
Organ – Dr. Lonnie Smith 

LOU DONALDSON - Blue Breakbeats (1998) APE (image+.cue), lossless

Back in 1998, Blue Note came out with a series of little 35- to 45-minute "Breakbeats" samplers taken from the thick, rich catalogs of Bobbi Humphrey, Grant Green, Reuben Wilson, Lee Morgan, Donald Byrd, and Lou Donaldson. What you get on this particular volume are six very enjoyable examples of Lou Donaldson's best jazz-funk grooves harvested from the golden formative years of this well-loved style (1963-1970). The collective personnel is pretty wicked, and includes Blue Mitchell, Melvin Sparks, Grant Green, Charles Earland, and Idris Muhammad. As usual, the background for the music is way bigger and runs much deeper than many folks realize. Anyone who has gone back and assessed Donaldson's entire career knows that he was one of the few alto players who didn't switch to tenor in the shadow of Charlie Parker during the 1950s. Donaldson's chops were always as formidable as Bird's or Earl Bostic's, James Moody's or Cannonball Adderley's. His recorded legacy is a lot more diverse than you would imagine if all you went by were the funky tracks that have since been lucratively "legitimated" by the recording industry in response to the sampling habits of a whole generation of DJ mixologists. Not to complain -- it's very cool that Lou Donaldson's funk-jazz is getting reissued and is being enjoyed by people young enough to be his great-grandchildren. It's just that it would be awfully nice if more people were aware of the considerable stylistic range of his music. The root system of these "Breakbeats" exists in the amazing and to some extent overlooked records that Lou Donaldson made between 1952 and 1963. For maximum enjoyment and fulfillment, get some context for the funk and you'll enjoy it like never before. arwulf arwulf  
Tracklist :
1     Turtle Walk 7:54
Lou Donaldson
Drums - Idris Muhammad   
Trumpet – Ed Williams
Organ – Charles Earland
Guitar – Melvin Sparks
Alto Saxophone – Lou Donaldson
2     Brother Soul 8:13
Lou Donaldson / Leon Spencer
Drums - Idris Muhammad   
Trumpet – Blue Mitchell
Organ – Charles Earland
Alto Saxophone – Lou Donaldson
Guitar – Jimmy Ponder
3     Minor Bash 6:08
Lou Donaldson   
Organ – Dr. Lonnie Smith
Drums - Idris Muhammad
Trumpet – Blue Mitchell
Guitar – Melvin Sparks
Alto Saxophone – Lou Donaldson
4     Pot Belly 8:05
Lou Donaldson   
Drums - Idris Muhammad
Trumpet – Blue Mitchell
Organ – Leon Spencer, Jr.
Alto Saxophone – Lou Donaldson
Guitar – Ted Dunbar
5     One Cylinder 6:45
Freddie McCoy
Drums - Idris Muhammad   
Alto Saxophone – Lou Donaldson
Guitar – George Benson
Trumpet – Melvin Lastie
Organ – Dr. Lonnie Smith
6     Caracas 7:19
Lou Donaldson
Drums – Ben Dixon
Organ – John Patton
Alto Saxophone – Lou Donaldson
Guitar – Grant Green

Dr. LONNIE SMITH - The Turbanator (2000) FLAC (tracks+.cue), lossless

These 1991 recordings went unreleased until 2000, and they're well-worth hearing. Smith begins with a ripping Hammond B3 reading of Duke Ellington's "Caravan," joined by guitarist Jimmy Ponder and drummer Buddy Williams. There are two more standards, "Someday My Prince Will Come" and "Cherokee," the latter surprisingly played as a ballad. But four blues-based originals fill the remainder of the program, three of which feature Smith on acoustic piano and Buster Williams on bass. Tenor saxophonist Houston Person also appears on two of the tracks. From burning swing to ballads to funk, Smith's touch on both organ and piano is highly individual and effective. For guitar fans, the presence of the underappreciated Jimmy Ponder is an added value. by David R. Adler
Tracklist :
1     Caravan 7:41
Duke Ellington / Irving Mills / Juan Tizol
2     Night Song 8:40
Dr. Lonnie Smith
3     Someday My Prince Will Come 5:39
Frank Churchill / Larry Morey
4     River Walk 9:48
Dr. Lonnie Smith
5     Monk Could Swing 9:17
Dr. Lonnie Smith
6     Cherokee 6:53
Ray Noble
7     Brushin' It 12:01
Dr. Lonnie Smith
Credits :
Bass – Buster Williams
Drums – Buddy Williams
Engineer – Rudy Van Gelder
Guitar – Jimmy Ponder
Organ – Dr. Lonnie Smith
Producer, Tenor Saxophone – Houston Person

Dr. LONNIE SMITH - Too Damn Hot (2004) FLAC (tracks+.cue), lossless

Hammond B-3 boss Dr. Lonnie Smith ends up on yet another new label with Too Damn Hot!, the follow-up to his thoroughly enjoyable -- if curious -- Boogaloo to Beck outing from 2003. This studio set places the organist in the company of two fine guitarists -- Peter Bernstein (lead) and Rodney Jones (rhythm), and alternating drummers Greg Hutchinson and Fukushi Tainaka. The two-guitar format is lovely in that it presents a wide array of colors and harmonic textures to the proceedings. The material is a compendium of new soul-jazz originals like the title track, which is a sultry slow burner with killer chorded solos by Smith, and "The Whip," a slippery funky hard bopper that recalls Johnny Patton's sessions with Grant Green. There are two covers present here as well, a fine version of Horace Silver's ballad "Silver Serenade" and a whimsical read of "Someday My Prince Will Come." The album's final cut, "Evil Turn," cooks like mad in stunning bop fashion. This is a keeper and Smith's best record of the decade so far.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1    Norleans    4:51
Dr. Lonnie Smith
2    Too Damn Hot    5:22
Dr. Lonnie Smith
3    Back Track    7:09
Dr. Lonnie Smith
4    The Whip    5:39
Dr. Lonnie Smith
5    Silver Serenade 5:58
Composed By – Horace Silver
6    Track 9    5:30
Dr. Lonnie Smith
7    One Cylinder    7:10
Dr. Lonnie Smith
8    Someday My Prince Will Come 7:32
Composed By – Churchill, Morey
9    Your Mama's Got A Complex    5:06
Dr. Lonnie Smith
10    Evil Turn    6:04
Dr. Lonnie Smith
Credits :
Drums – Fukushi Tainaka (faixas: 2, 4, 5, 8, 10), Gregy Hutchinson (faixas: 1, 3, 6, 7, 9)
Guitar – Peter Bernstein, Rodney Jones
Organ – Dr. Lonnie Smith
Producer, Recorded By – Matt Balitsaris

Dr. LONNIE SMITH - Jungle Soul (2006) FLAC (tracks+.cue), lossless

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.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Trouble Man 5:06
Marvin Gaye
2     Simone 6:45
3     Jungle Soul 6:23
4     Willow Weep for Me 7:44
5     Freedom Jazz Dance 6:09
Eddie Harris
6     Blue Moment 8:39
7     Witch Doctor 9:55
Lonny Gasperini
8     Bemsha Swing 6:22
9     Zimbabwe 6:11
10     Jungle Wisdom 4:32
Credits :
Drums – Allison Miller
Guitar – Matt Balitsaris (faixas: 9,10), Peter Bernstein
Organ – Dr. Lonnie Smith

Dr. LONNIE SMITH - Rise Up! (2009) Mp3

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.
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.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     A Matterapat 6:46
Dr. Lonnie Smith
2     Come Together 5:07
John Lennon / Paul McCartney
3     Pilgrimage 6:49
Dr. Lonnie Smith
4     Dapper Dan 7:21
Dr. Lonnie Smith
5     And the World Weeps 7:39
Dr. Lonnie Smith
6     People Make the World Go Round 10:42
Thom Bell / Linda Epstein
7     Tyrone 6:15
Young
8     Sweet Dreams 6:47
Annie Lennox / Dave Stewart
9     Voodoo Dolls 4:42
Dr. Lonnie Smith
Credits :
Drums – Allison Miller
Guitar – Matt Balitsaris (faixas: 9,10), Peter Bernstein
Organ – Dr. Lonnie Smith

Dr. LONNIE SMITH - Evolution (2016) FLAC (tracks+.cue), lossless

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. by Matt Collar  
Tracklist :
1     Play It Back 14:05
Dr. Lonnie Smith
2     Afrodesia 8:20
Dr. Lonnie Smith
3     For Heaven’s Sake 5:52
Dr. Lonnie Smith
4     Straight No Chaser 6:43
Thelonious Monk
5     Talk About This 7:20
Dr. Lonnie Smith
6     My Favorite Things 11:10
Oscar Hammerstein II / Richard Rodgers
7     African Suite 9:52
Dr. Lonnie Smith
Credits :
Bass Clarinet – John Ellis (faixas: 3)
Drums – Joe Dyson (faixas: 1 to 3, 5, 7), Jonathan Blake
Flute – John Ellis (faixas: 7)
Guitar – Jonathan Kreisberg
Organ [Hammond B3 Organ], Keyboards – Dr. Lonnie Smith
Piano – Robert Glasper (faixas: 1)
Soprano Saxophone ["G" Mezzo Soprano Saxophone] – Joe Lovano (faixas: 2)
Tenor Saxophone – Joe Lovano (faixas: 3), John Ellis (faixas: 1, 2, 5)
Trumpet – Keyon Harold (faixas: 1), Maurice Brown (faixas: 2, 5)

Dr. LONNIE SMITH - Spiral (2010) FLAC (tracks+.cue), lossless

Dr. Lonnie Smith shows no signs of slowing down. Spiral is is his fifth studio album since 2003, and his fourth for Palmetto. Produced by Matt Balitsaris, Smith's trio includes guitarist Jonathan Kreisberg and drummer Jamire Williams. The program is a solid set of jazz nuggets, an original, and a couple of ballad standards. Things lead off with Jimmy Smith's "Mellow Mood," which is relaxed but hardly what the title suggests. Smith is in prime soul-jazz mode here, paying tribute to his mentor by swinging hard on the melody. Another nice touch is the reading of Slide Hampton's "Frame for the Blues," a smoky, nocturnal slow burner that features a fine solo by Kreisberg. Smith's fire is reserved for Harold Mabern's stomping "Beehive," where the band not only plays full-bore, but executes the knotty harmonic and tempo changes flawlessly, making the tune feel more like a crackling rock jam than just a jazz tune -- it'd be great to hear Smith's band perform this tune with Phish. Kreisberg's solo, which sounds a bit like steel drums, is the most mind-boggling thing on the record. More familiar material, such as "Sweet & Lovely" and "I Didn't Know What Time It Was," is handled with all the slippery swing that soul-jazz affords standards, and the trio is seamless -- check Williams' drumming on the former tune where he slips in breaks and off-meter fills while staying firmly in the pocket -- and deft in both surprise and depth. Spiral puts the full range of Smith's powers as an interpreter and improviser on display. This grooving trio makes it all sound easy, though nothing could be further from the truth.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1    Mellow Mood    5:13
2    I've Never Been In Love Before    5:11
3    Frame For The Blues    8:53
4    I Didn't Know What Time It Was    7:49
5    Sweet And Lovely    5:57
6    Spiral    5:55
7    Beehive    6:41
8    Sukiyaki    3:40
Credits :
Drums – Jamire Williams
Guitar – Jonathan Kreisberg
Organ – Dr. Lonnie Smith