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Jimmy Smith & Dave"Baby"Cortez - Happy Organs... 2 in1

Jimmy Smith & Dave


Jimmy Smith wasn't the first organ player in jazz, but no one had a greater influence with the instrument than he did; Smith coaxed a rich, grooving tone from the Hammond B-3, and his sound and style made him a top instrumentalist in the 1950s and '60s, while a number of rock and R&B keyboardists would learn valuable lessons from Smith's example.

James Oscar Smith was born in Norristown, Pennsylvania on December 8, 1928 (some sources cite his birth year as 1925). Smith's father was a musician and entertainer, and young Jimmy joined his song-and-dance act when he was six years old. By the time he was 12, Smith was an accomplished stride piano player who won local talent contests, but when his father began having problems with his knee and gave up performing to work as a plasterer, Jimmy quit school after eighth grade and began working odd jobs to help support the family. At 15, Smith joined the Navy, and when he returned home, he attended music school on the GI Bill, studying at the Hamilton School of Music and the Ornstein School, both based in Philadelphia.

The Incredible Jimmy Smith at Club Baby Grand, Vol. 1 In 1951, Smith began playing with several R&B acts in Philadelphia while working with his father during the day, but after hearing pioneering organ player Wild Bill Davis, Smith was inspired to switch instruments. Smith bought a Hammond B-3 organ and set up a practice space in a warehouse where he and his father were working; Smith refined the rudiments of his style over the next year (informed more closely by horn players than other keyboard artists, and employing innovative use of the bass pedals and drawbars), and he began playing Philadelphia clubs in 1955. In early 1956, Smith made his New York debut at the legendary Harlem nightspot Small's Paradise, and Smith was soon spotted by Alfred Lion, who ran the well-respected jazz label Blue Note Records. Lion signed Smith to a record deal, and between popular early albums such as The Incredible Jimmy Smith at Club Baby Grand and The Champ and legendary appearances at New York's Birdland and the Newport Jazz Festival, Smith became the hottest new name in jazz.
Bashin': The Unpredictable Jimmy Smith A prolific recording artist, Smith recorded more than 30 albums for Blue Note between 1956 and 1963, collaborating with the likes of Kenny Burrell, Stanley Turrentine, and Jackie McLean, and in 1963, Smith signed a new record deal with Verve. Smith's first album for Verve, Bashin': The Unpredictable Jimmy Smith, was a critical and commercial success, and the track "Walk on the Wild Side" became a minor hit. Smith maintained his busy performing and recording schedule throughout the 1960s, and in 1966 he cut a pair of celebrated album with guitarist Wes Montgomery. In 1972, Smith's contract with Verve expired, and tired of his demanding tour schedule, he and his wife opened a supper club in California's San Fernando Valley. Smith performed regularly at the club, but it went out of business after only a few years. While Smith continued to record regularly for a variety of labels, his days as a star appeared to be over.
Bad However, in the late '80s, Smith began recording for the Milestone label, cutting several well-reviewed albums that reminded jazz fans Smith was still a master at his instrument, as did a number of live performances with fellow organ virtuoso Joey DeFrancesco. In 1987, producer Quincy Jones invited Smith to play on the sessions for Michael Jackson's album Bad. And Smith found a new generation of fans when hip-hop DJs began sampling Smith's funky organ grooves; the Beastie Boys famously used Smith's "Root Down (And Get It)" for their song "Root Down," and other Smith performances became the basis for tracks by Nas, Gang Starr, Kool G Rap, and DJ Shadow.
Damn! In 1995, Smith returned to Verve Records for the album Damn!, and on 2001's Dot Com Blues, Smith teamed up with a variety of blues and R&B stars, including Etta James, B.B. King, Keb' Mo', and Dr. John. In 2004, Smith was honored as a Jazz Master by the National Endowment for the Arts; that same year, Smith relocated from Los Angeles to Scottsdale, Arizona. Several months after settling in Scottsdale, Smith's wife succumbed to cancer, and while he continued to perform and record, Jimmy Smith was found dead in his home less than a year later, on February 8, 2005. His final album, Legacy, was released several months after his passing.
***
David Cortez Clowney known by the stage name Dave "Baby" Cortez (born August 13, 1938), is an American pop and R&B organist and pianist, best known for his 1959 hit, "The Happy Organ". David  played the organ "...with the same aggression as a pro football linebacker: he was theatrical, dressed loud, and loved playing exaggerated scales..."...
Though hardly a soulful, bluesy master like Jimmy Smith or dashing experimentalist like Larry Young, organist Dave "Baby" Cortez made his mark in the '50s,'60s, and '70s as a capable, often clever soloist and pop instrumentalist. His flair for catchy melodies, riffs, and hooks resulted in a number one pop and number five R&B hit with "The Happy Organ" in 1959. Cortez had another double winner in 1962 with "Rinky Dink," this one peaking at number nine R&B and number ten pop. Before his instrumental success, Cortez recorded for Ember as David Clowney in 1956, and was in the Pearls from 1955 to 1957. He landed one other song on the R&B Top 50, "Someone Has Taken Your Place," in 1973 for All Platinum. His other songs were recorded for Clock and Chess. There has been no domestic reissue of Cortez's songs, but there are import anthologies available.

Jimmy Smith - Hoochie Cooche Man

Jimmy Smith & Dave


Dave Baby Cortez  - Happy Organs,Wild Guitars And Piano Shuffles

Jimmy Smith & Dave

Crazy Casey (with Golden Earrings) - The Beast and I (1967)




Crazy Casey - the pseudonym of the Dutch organist and producer Cees Schrama.
CEES SHRAMA (born December 18, 1936 in The Hague) lived a very rich musical life. His father played the saxophone, his mother was an opera singer and pianist; under her pressure from the age of 8 began to master the accordion, with 11 - guitar, piano and organ. Raised the skill, not regretting the forces or the time.
After graduating from high school, I got a pianist in a jazz orchestra. In 1957, becoming interested in rock'n'roll and rhythm & blues, he joined the international band Theo van Est (leader of Ted Easton), who successfully performed in front of American troops in Germany, France, Spain, North Africa and Turkey. It turned out that Cees has a good taste of showman. For the bright manner of the game he was called "Mad Ceesie", and later had to change the name to Crazy Casey, which was more familiar to the ear of Americans.
After several years of work in the orchestra, in 1962 he decided to create his own team - "Holland Quintet / Quartet". However, in the end he came to the conclusion that it is burdensome to be a leader.
Returning to Holland in 1964, took part in concerts and sessions of other musicians, while the producer of the famous "The Golden Earrings" Fred Haayen did not meet him in November 1966 while recording the record of his wards. Beginning work exclusively in the studio: "Golden Earrings", "Shoes", "Haigs", "Counts" and others ... In 1965 to 1979 he was a studio musician on records of almost all Dutch performers of the time (including "Shocking Blue" with their super-hit "Venus"!), but more often anonymously.
 

Cees Schrama. (род. 18 декабря 1936 в г. Гаага) прожил очень насыщенную музыкальную жизнь. Отец играл на саксофоне, мать была оперной певицей и пианисткой; под её давлением с 8 лет начал осваивать аккордеон, с 11-ти - гитару, пианино и орган. Повышал мастерство, не жалея ни сил ни времени.
После окончания средней школы, устроился пианистом в джазовый оркестр. В 1957 году, заинтересовавшись рок-н-роллом и ритм & блюзом, вошёл в международный бэнд "Theo van Est" (руководитель Ted Easton), который успешно выступал перед американскими войсками в Германии, Франции, Испании, Северной Африке и Турции. Здесь выяснилось, что Cees обладает хорошими задатками шоумена. За яркую манеру игры его стали называть "Безумный Ceesie", а позже пришлось поменять имя на Crazy Casey, что было более привычно для уха американцев.
После нескольких лет работы в составе оркестра, в 1962-м решил создать собственную команду - "Holland Quintet/Quartet". Однако в итоге пришел к выводу, что быть руководителем обременительно.
Вернувшись в Голландию в 1964 г., принял участие в концертах и сессиях других музыкантов, пока продюсер знаменитых "The Golden Earrings" Fred Haayen не познакомился с ним в ноябре 1966 года во время записи пластинки своих подопечных. Начинается работа исключительно в студии: "Golden Earrings", "Shoes", "Haigs", "Counts" и др... В 1965 по 1979 год являлся студийным музыкантом на записях практически всех голландских исполнителей того времени (включая "Shocking Blue" с их супер-шлягером "Venus" !), но чаще анонимно.
В мае 1967 под именем "Snuffy King Trio" выпускает свой первый сольный альбом, а затем, на "Polydor Special", с участием трёх друзей из "Golden Earrings", - представленную здесь пластинку. Сделана она была с большим энтузиазмом; во время записи царило прекрасное настроение в студии, повезло и с техническим персоналом... С "Golden Earrings" активно записывался в 1966-70 гг., и позже - например в 2003-м. Его эксперименты с тембрами фортепиано, органа, меллотрона, вибрафона и различными техниками игры оказали значительное влияние на стиль и звук великих голландцев. Обучил также бас-гитариста Rinus Gerritsen игре на фортепиано.
В конце 1969 г. формирует в Гааге группу "Funky Eight op", переименованную в "Casey & The Pressure Group" и выпустившую несколько альбомов и множество синглов.
В 1972 году официально поступил на службу в "Polydor"; с 1973-го - более 30 лет вёл джазовую программу на радио. До настоящего времени занимается продюсерством, хотя с начала девяностых годов активность снизилась (последний крупный проект - "The Rosenberg Trio" в 1993-1995).
Является крупным администратором, консультантом лэйблов, ведущим концертов и фестивалей, критиком, журналистом и т. д. Один из видных "поваров" европейской музыкальной кухни, о которой многие меломаны даже не догадываются.

From 1966 to 1970 he played on records of Golden Earring (then The Golden Earrings) and in 1970 he released the album Powerhouse under the name Casey and the Pressure Group. From that time on, his performance of Comin 'home baby jazz standard, together with members of Golden Earring, dates back to that time. The song Soultango became a modest hit. In 1972 he joined the record company Polydor and the following year he became the presenter of the radio program Sesjun. In addition, he played on numerous records as a studio musician and he produced gramophone records.
 
Crazy Casey - The Beast and I (1967)  


Label: Polydor ‎– 236 148





01 - Major-Minor
02 - Crazy Casey
03 - Snaggle Puss
04 - Ready Freddy
05 - The Beast and I
06 - Murphy
07 - Don't Rock That Boat
08 - Sir Henry the Dancer
09 - Comin' Home Baby
10 - It Ain't Necessarely So


Accompanied By – Golden Earrings

Bass – Rinus Gerritsen
Drums – Jaap Eggermont
Guitar – George Kooymans
Keyboards, Producer – Cees Schrama (Crazy Casey)




Harry Stoneham - Hammond Hits The Highway 1969Crazy Casey (with Golden Earrings)  - The Beast and I (1967)

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