Jimmy Smith - Back At The Chicken Shack

Born in Norristown, Pennsylvania, Jimmy Smith began his musical journey on the piano, playing with his father in a dance troupe and studying music after a stint in the Navy. Inspired by Wild Bill Davis, Smith switched to the Hammond organ in the early 1950s and quickly developed a unique style blending bebop, blues, gospel and R&B. Awarded the NEA Jazz Masters Award in 2005, Smith continued to perform and record until his death, leaving a lasting impact on jazz and influencing countless musicians. 

Released in 1963 on Blue Note, (but recorded three years earlier at Rudy Van Gelder’s legendary New Jersey studio) Back at the Chicken Shack stands as one of Jimmy Smith’s most iconic albums, and a defining moment in soul jazz. Featuring Smith’s revolutionary Hammond B3 organ work, the album was laid down in the same 1960 session as his acclaimed Midnight Special album, and boasts a stellar lineup that includes tenor saxophonist Stanley Turrentine, guitarist Kenny Burrell and drummer Donald Bailey. With its infectious grooves, blues-drenched improvisation, and the dynamic interplay between Smith and his bandmates, Back at the Chicken Shack not only helped popularise the organ in jazz, but also inspired a generation of musicians and made the list for Robert Dimery's book 1001 Albums You Must Hear Before You Die. 

The signature Hammond B3 Organ sound of the bandleader drives forward the title track “Back at the Chicken Shack”, the melody brimming with infectious blues phrasing. A cool laid-back solo from Stanley Turrentine over the grooving rhythm section develops before returning to the main theme. “When I Grow Too Old To Dream” (Sigmund Romberg and Oscar Hammerstein II) brings the album to a sedate pace; the light and warm tone of the sax glides over the two-feel laid down by the organ, expertly kept in check by Donald Bailey. As the solos begin, the feel simmers into a gentle swing accompanied by a walking bass emitted from the left hand of Smith. Turrentine's lines flow behind as if he is in fact not yet too old to dream. 

Penned by the saxophonist, “Minor Chant” brings in a minor tonality to the album but one that still remains slightly upbeat (despite the funeral march quote from Turrentine in the soloing). Throughout the melody and improvising, a constant conversation between Smith and Bailey happens - not enough to become a nuisance, but the perfect amount to solidify the intensity. The album’s longest track, “Messy Bessie,” returns to a blues-infused style at a slower tempo. Smith’s organ leads the way with a laid-back swagger, while Turrentine and Burrell add a strand of their own voices. The piece gradually builds in complexity and energy, allowing each musician space to stretch out and interact with a special mention to the pulsing and purring sounds of the B3 that are unleashed. 

Jimmy Smith’s mastery of the Hammond B3 set a new benchmark for jazz organ: his skilful use of foot pedals and left hand produced driving, independent bass lines, while his right hand delivered rapid melodic runs. This innovative approach of blending soulful blues, grooves, and bebop-inspired improvisation was groundbreaking for its time. It influenced later Hammond organ musicians, such as Joey De Francesco and Larry Goldings, both of whom took over the mantle to push the boundaries of jazz organ playing.