Billboard : 02/17/1958
Score of 3 stars

In a program of two standards and two originals investigated at length, organist Smith reiterates his ability to make the organ a functional, jazz instrument. Possessed of a bluesy conception, his solos are strong, often built along boppish lines. Altoist Lou Donaldson and guitarist Kenny Burrell contribute fine solos, which add appeal to set. Many free swinging moments on this blowing session could convince a good portion of modern clientele, if shown.

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Cashbox : 03/08/1958

The jazz organist records another collection of easy to take readings. Smith can do almost anything with organ, and he does on this waxing. With three major voices featured along with him, the organist swings through the four goodies in a winning style. Two of the tunes are There’s A Small Hotel, and All Day Long. The pressing is must stock for deals with jazz trade.

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Down Beat : 06/12/1958
John A. Tynan : 4 stars

This veritable cookers’ convention finds Smith in appropriately big league company. For his eighth Blue Note LP he chose four tunes for maximum blowing space, the net result being a wholly relaxed set wherein everybody gets an opportunity to holler his piece.

Donaldson solemnly paces Summertime with a comparatively straight solo statement followed by some heavy chording from Smith. Near the close of the organist’s solo, however, he chose to insert a couple of liturgical chords that, to say the least, are quite inappropriate. The altoist checked out of Hotel (the only track on which he doesn’t play), and Jimmy is joined by Burrell and Blakey. Kenny opens with a tasteful, if not very spirited solo, which Smith follows in an exciting groove. Blakey’s drum solo is quote long – too long for these ears – but he drives hard throughout.

Long is a slow, earthy blues that opens with some slow guitar chording, builds in a series of excellent solos by Donaldson, Burrell, and Smith, and then retires as quietly as it entered. The altoist makes a prodigious effort to raise Bird’s ghost, but his passion and directness compensate for the imitation.

Yardbird is taken medium up and sets both Lou and Kenny to romping and Jimmy into a series of choruses which re-emphasize his awesome technique and clear, personal voice.

The crack about “yawning critics” in the notes seems rather immature.

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Liner Notes by Robert Levin

The jazz world is in a chronic state of confusion. Young musicians, aching with the desire to say something new and “different”, are forever going off in scores of directions, hoping to fulfill themselves artistically, draw plaudits from yawning critics and maybe “pick up some loot” in the bargain. Any direction is valid if it is intelligent and sincere but as to its ultimate importance, well, that’s something else. Many progressive musicians have lengthened the form but, in the process, have lost the concept of swinging. What they play and write may be music but is it jazz?

These contemporary musicians who, in my opinion, may be classified as greats; Sonny Rollins, Miles Davis, Thelonious Monk, Milt Jackson, and a few others, all play with a modern conception but never lose sight of their origins. Spirituals, gospels, blues (no matter how latent they may be at times) are always an integral part of their music – the underlying, basic factor. These men are direct descendants of the exponents of the above musical forms. They have a profound knowledge of, and respect for the history of their art. They know – feel intrinsically, what’s “happening” and apply these qualities, perhaps without realizing it.

Jimmy Smith is such a musician.

He is definitely on his way to becoming a “great.” A swinging, highly percussive organist, firmly entrenched in jazz tradition, Jimmy projects an earthy warmth, through a bop conception, that is analogous to the blues shouters of bygone days. He is an exciting, dynamic performer, capable of playing ballads and uptempo numbers with consummate skill (certainly unequalled skill on his instrument) and has already (he’s been on the “big-time” scene only a year) received much praise from what are usually caustic critics, musicians and fans.

Only the late Fats Waller and Wild Bill Davis had achieved any real prominence as jazz organists until Jimmy made his spectacular debut last year (1956) at the Café Bohemia in New York’s Greenwich Village. Those in the audience that first night could not help but remark in endless superlatives about his striking originality and brilliant technique.

Out of Norristown, Pennsylvania, Jimmy’s professional background consists, in the main, of R&B gigs that, dull and inartistic as they may be, no doubt had much to do with the development of his inherent “blues feeling.”

These are Jimmy’s eighth and ninth albums for Blue Note, but he remains one of the few “new” musicians who has not been overrecorded.

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A pensive, melancholy mood is affected with George Gershwin‘s lovely ballad, Summertime, which has Lou Donaldson on alto sax along with Jimmy and no rhythm section (none is needed). Donaldson, one of the best but most underrated and neglected musicians ever, solos twice (opening and closing the piece) with long, flowing, graceful lines and sticks close to the melody. Jimmy’s backing is appropriately delicate and his solo is sensitive and moving.

There’s A Small Hotel features Jimmy with the youthful, upcoming guitarist, Kenny Burrell and the rocking Art Blakey on drums. The standard is taken at a medium pace. Burrell leading off with a lightly swinging solo is followed by a by a long, driving organ excursion, then Kenny returns to exchange fours with Smith and the two are joined in the spotlight some bars later by Blakey who adds a robust solo after which Jimmy and Kenny restate the original melody and close.

All Day Long, a stimulating minor blues by Burrell, has the same personnel as Hotel with Donaldson (in a warm, Parkerish groove) added. Lou, Kenny and Jimmy wail at length before the tune fades out as the boys make their slow, sad retreat from “Funksville.”

The same group brightens sharply with Charlie Parker’s catchy Yardbird Suite. Everyone plays with a delightful “this is a ball” feeling and Jimmy proves here just how hard an organ can swing. Blakey’s “fill ins” add much to the rhythmic forcefulness of Jimmy’s solo.

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Plum Nellie, a Smith original, is a “way down” blues with Donaldson and the other two-thirds of Jimmy’s current trio; Eddie McFadden, guitar and Donald Bailey, drums. This extended excursion into funk is highlighted by Jimmy’s “Flight to Kansas City” and McFadden’s brooding “blue guitar.” Lou’s stint is fleet and soulful.

Kenny, Lou, Jimmy and Art romp through Charlie Parker’s Billie’s Bounce with an exhilarating group of solos that will keep your foot tapping long after the tune has ended. Jimmy utilizes the surprising capacity of the organ to its fullest, swinging with the power and virility of a big band.

The Duel, an original, is between Art and Jimmy with Jimmy’s solo one of his best on record. He builds, emotionally, to fantastic proportions, expanding vertically and horizontally with a frenetic intensity. Blakey’s “jungle drums” are in keeping with the hot, frenzied mood.

The Jimmy Smith trio (McFadden and Bailey) are heard on Burns a Plenty, a breezy, middletempo blues original by Smith.

Jimmy has come far within the past year and will go farther. He is a still growing talent and a welcome addition to the “East Coast” school.

These sides were cut at several relaxed, informal, “groovy” (as Alfred Lion likes to call them) sessions that had everyone in fine spirits and exceptional form.

Listen! The albums tell the story. They belong in every “hip” collection.