Gary Smulyan – Smul’s Paradise – Capri Records

by | Feb 13, 2012 | Jazz CD Reviews

Gary Smulyan – Smul’s Paradise – Capri Records 74113-2, 52:40 ****:
(Gary Smulyan, baritone sax; Mike LeDonne, Hammond B-3 organ; Peter Bernstein, guitar; Kenny Washington, drums)
Continuing the recent Hammond B-3 trio and quartet soul jazz renaissance, baritone sax veteran, Gary Smulyan, goes one better. Substituting the bari for the requisite tenor sax, Smulyan adds the funky bottom-end bari growl to the mix which increases the funk quotient. Along to give the soul jazz mix a solid pedigree are three New Yorkers that have played together in various combinations, but never recorded together as a quartet. Each is a master of their instrument, with Mike LeDonne active in New York clubs and also having an strong career as a recording leader for Savant Records. Peter Bernstein is in my opinion the top choice as a guitarist for ANY Hammond session. Kenny Washington is busy playing with all the cats in New York, as first choice drummer, and has been especially busy with pianist Bill Charlap.
Gary Smulyan’s distinctive baritone sax tone and phrasing comes closest of present day players to Pepper Adams, one of the bari sax true masters, which is a distinct complement. Not a copyist, he just has the bottom end baritone sax range that few can match. His 1997 Strings album recorded for Criss Cross is a masterpiece, and I eagerly awaited this release after enjoying his Pepper Adams tribute a few years ago at the Detroit Jazz Festival.
I can happily report that Smul’s Paradise is the real deal. It includes two Don Patterson compositions and  Gary’s tribute to Don, “Blues for D.P.”  Smulyan has included three tracks of originals, and also Rhoda Scott’s “Pistaccio.” Both Rhoda and Don Patterson are woefully unrecognized as among the true Hammond B-3 giants.
“Sunny” opens the CD with light fare, fully recognizable, but not in the league with the other selections. However, LeDonne has a way of elevating most any song to a higher level with his prodigious Hammond talents.
“Up in Betty’s Room” from Don Patterson is more like it, and Smul digs in prodded by LeDonne. Bernstein has his usual tasty solo and all is well.
“Pistaccio” has a light bari-meets-Latinesque vibe, and Peter and Gary make it their own. The title track follows, and we get a boppish feel, appropriate to the title’s play on words to Small’s Paradise, the famous Harlem jazz club which was active from the 1920s through the 1940s.
“Little Miss Half Steps,” written by George Coleman, whose muscular tone on tenor brings to mind Smulyan’s prowess on bari, is next, and gives Smulyan and Company a chance to go out of the Hammond box to explore some more bop territory. Kenny Washington has some assertive drum solos playing off LeDonne. “Aires” is a gorgeous ballad for Gary to sweetly emote while the Hammond swirls around him.
Smulyan honors Don Patterson on “Blues for D.P.” It’s a cooker, and continues the soul jazz party. Only Ronnie Cuber, has had the Hammond B-3 featured besides Smulyan (Cuber was active with Lonnie Smith and George Benson back in the day), and Smulyan reminds us that it’s not just the tenor sax that fits in a Hammond B-3 setting.
Smul’s Paradise is a welcome addition with bottom end grease lubricating the mix. Pick this one up and prepare to groove to a funky mix.
TrackList: Sunny, Up in Betty’s Room, Pistaccio, Smul’s Paradise, Little Miss Half Steps, Aires, Blues for D.P., Heavenly Hours.
—Jeff Krow

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