JOS - Crazy! Baby

[Soulstation1]

i just picked up the cd yesterday

any fav songs

i like night in tunisia

Edited January 9, 2006 by Soulstation1

[Harold_Z]

Crazy Baby is the first Jimmy Smith I ever heard. I love the whole album. It's probably still one of my favorite albums. The track that comes to mind first when I think of this album is When Johnny Comes Marching Home.

[jlhoots]

Crazy Baby is the first Jimmy Smith I ever heard. I love the whole album. It's probably still one of my favorite albums. The track that comes to mind first when I think of this album is When Johnny Comes Marching Home.

Me too.

Then Sonnymoon For Two.

[Parkertown]

Double-ditto. Love this...

[Jim Alfredson]

The way Smith builds his extended solo on "When Johnny Comes Marching Home" is a prime example of someone in total control of their instrument. Crazy Baby! seems to be a turning point in his sound... the last record before he settles into the funky-bluesy down home style playing that defined the rest of his career (for the most part). It has always been a favorite of mine.

[CJ Shearn]

I ruv this album. I had it on the other night actually, I love the weird way Jimmy plays the head on "A Night in Tunisia" its really strange, combined with Donald Bailey's galloping horsie groove. And if this were to get an RVG treatment I'd bypass it b/c the domestic sounds fine to me.

[Soul Stream]

I ruv this album. I had it on the other night actually, I love the weird way Jimmy plays the head on "A Night in Tunisia" its really strange, combined with Donald Bailey's galloping horsie groove. And if this were to get an RVG treatment I'd bypass it b/c the domestic sounds fine to me.

The intro on "A Night In Tunisia" is what Jim was referring to about 'total mastery of the instrument.' No better example of Jimmy fully formed and in command on record than "Crazy Baby."

[Free For All]

I ruv this album.

[CJ Shearn]

lol actually I was thinking the character Christmas Eve and the song "The More You Ruv Someone" from Avenue Q, cute song but morbid. Anyway, back to "Crazy! Baby", I like "What's New" on there, altho in the things that ruin a jazz number for you thread at AAJ, someone didn't like Jimmy's stop/Leslie usage on this track, but I think it works.

[The Magnificent Goldberg]

The way Smith builds his extended solo on "When Johnny Comes Marching Home" is a prime example of someone in total control of their instrument. Crazy Baby! seems to be a turning point in his sound... the last record before he settles into the funky-bluesy down home style playing that defined the rest of his career (for the most part). It has always been a favorite of mine.

Although this came out before "Home cookin'", it was recorded later. "Home cookin'" is where the bluesy funky stuff started, I think.

I like this album very much, particularly "Johnny" and "Tunisia", too. But I really prefer the "Home cookin'" style. I've played "Home cookin'" a LOT more than "Crazy baby".

MG

[CJ Shearn]

to me, "Crazy! Baby" is probably the last JOS bop influenced album before, the turn towards soul-jazz, and his redefined funkier style, less of the sheets of sound type soloing and more earthy, though if you look towards albums like "The Boss" some of that more wild playing is still there.

[Jim Alfredson]

The way Smith builds his extended solo on "When Johnny Comes Marching Home" is a prime example of someone in total control of their instrument. Crazy Baby! seems to be a turning point in his sound... the last record before he settles into the funky-bluesy down home style playing that defined the rest of his career (for the most part). It has always been a favorite of mine.

Although this came out before "Home cookin'", it was recorded later. "Home cookin'" is where the bluesy funky stuff started, I think.

I like this album very much, particularly "Johnny" and "Tunisia", too. But I really prefer the "Home cookin'" style. I've played "Home cookin'" a LOT more than "Crazy baby".

MG

It is interesting that although Crazy Baby! was recorded earlier, it was released after Home Cookin'. I wonder if Home Cookin' sold better and led to Jimmy's shift his focus from post-bop into soul-jazz?

[CJ Shearn]

here is a review of the album I wrote at Amazon several years back, here it is with a few revisions I made just now.

"Crazy Baby" was Jimmy Smith's first album of the sixties, acting as a bridge between the organist's earlier boppish recordings and the greasy soul jazz which would make him a household name to the public later on that decade. Jimmy is joined by new guitarist Quentin Warren, 19 at the time, and long time associate Donald Bailey on drums. The record is filled with tight swing, and the flawless Smith groove is kicked off with "When Johnny Comes Marching Home." The tune features one of the most exciting solos Jimmy ever recorded and he is constantly inspired and spurred on by Donald's fierce polyrhythmic drumming. The trio burns on "A Night in Tunisia", "Sonnymoon For Two", and "Mack The Knife" before slowing down with a nice take on "What's New" highlighting expressive stop use. Jimmy recorded only 4 trio albums for Blue Note between 1960-1963, and this may be the best of the lot. The album is swings mightily, and the tight group interplay is trademark Smith. Although not a player on the level of frequent JOS collaborator Kenny Burrell, Warren is the gel that holds the trio together, perfectly complimenting Bailey's active drumming with solid comping. The CD contains two bonus tracks as well.

Edited January 11, 2006 by CJ Shearn

[The Magnificent Goldberg]

The way Smith builds his extended solo on "When Johnny Comes Marching Home" is a prime example of someone in total control of their instrument. Crazy Baby! seems to be a turning point in his sound... the last record before he settles into the funky-bluesy down home style playing that defined the rest of his career (for the most part). It has always been a favorite of mine.

Although this came out before "Home cookin'", it was recorded later. "Home cookin'" is where the bluesy funky stuff started, I think.

I like this album very much, particularly "Johnny" and "Tunisia", too. But I really prefer the "Home cookin'" style. I've played "Home cookin'" a LOT more than "Crazy baby".

MG

It is interesting that although Crazy Baby! was recorded earlier, it was released after Home Cookin'. I wonder if Home Cookin' sold better and led to Jimmy's shift his focus from post-bop into soul-jazz?

Other way round Jim. "Home cookin'" was recorded first and released after "Crazy baby".

But you could be right about "Home cookin'" sales dictating a change of style. It would really be interesting if that sort of information about Blue Note (and other companies) was available: sales data; correspondence; that sort of thing. It has always seemed to me that the record companies had a lot to do with the way Soul Jazz developed, particularly in putting together the rhythm teams that drove the development. But there's not much evidence. Or if there is, no one's been bothered to research it.

I'm hoping Bob Porter's book on Soul Jazz, which was supposed to come out last November, throws some light on it; whenever it eventually appears.

MG

[CJ Shearn]

interesting thoughts MG. Do you think that perhaps because of popular success Jimmy's style became more earthy, pared down the incredible Trane like flights in his first albums, because the grease connected with people more, specifically non jazz fans?

Edited January 11, 2006 by CJ Shearn

[The Magnificent Goldberg]

interesting thoughts MG. Do you think that perhaps because of popular success Jimmy's style became more earthy, pared down the incredible Trane like flights in his first albums, because the grease connected with people more, specifically non jazz fans?

I never thought about it until Jim mentioned it. It's possible, but there's not much in the way of evidence, so it's mainly speculation. One thing that might lead to the conclusion that sales dictated the change can be derived from the fact that the 45s from both albums came out simultaneously:

1765 Makin' whoopee/What's new - both from 4030

1766 Mack the knife/When Johnny comes marching home - both from 4030

1767 I got a woman (4050) / Alfredo (4030)

1768 See see rider/Come on baby (both from 4050)

1769 Motorin' along (4050) / Since I fell for you (unissued on LP until LT1092)

At the same time Smith was recording "Home cookin'" - 1958 & 1959 - Sonny Clark and Ike Quebec were also recording sessions intended for issue on 45. "Home Cookin'" may have fitted into that framework and the sessions may have been intended for 45s only. But maybe the reaction, when this stuff appeared on juke boxes - I think about two thirds of Blue Note 45 sales went to juke boxes - may have made them rethink; hence the late issue of "Home cookin'". If you think about all 10 of those tunes listed above, it's pretty clear which would have gone best on juke boxes. (I have an ex-jukebox copy of "Back at the chicken shack". God! Was that record played or what! But it still plays now!) Now, I have a 1967 Blue Note catalogue (I confess, I'm a nerd!) and only 1767, 1768 and 1769 are listed. That must indicate better sales for the 4050 singles, mustn't it? We can assume that would have translated into better LP sales.

I think we can certainly assume that my reconstruction does account for the issue of "Home cookin'" out of what one would expect its proper order to be.

This is all speculation, but not too distant from the scanty evidence. When we go from that point to saying, "did it have an effect on Smith's career?" then we're moving quite far from the existing evidence. But I'd say, "yes, IMO it did have an effect."

MG

Edited January 11, 2006 by The Magnificent Goldberg

[CJ Shearn]

wow, great stuff MG. you think that "Home Cookin" was a 45 session possibly, thats interesting because the tune lengths indicate more stretching out within the limitations of a 45 format(between 3-6 minutes a tune ) if we discount the bonus tracks on the CD. I have "Home Cookin" behind "Crazy! Baby" on the shelf because the sessions were recorded in 58-59 for that album. Anyway, does anybody know why the graphic design of "Crazy ! Baby" on some original issues features the album title and logo in greenish-yellow while other issues including domestic and Japanese CD are in light blue?

[The Magnificent Goldberg]

wow, great stuff MG. you think that "Home Cookin" was a 45 session possibly, thats interesting because the tune lengths indicate more stretching out within the limitations of a 45 format(between 3-6 minutes a tune ) if we discount the bonus tracks on the CD. I have "Home Cookin" behind "Crazy! Baby" on the shelf because the sessions were recorded in 58-59 for that album. Anyway, does anybody know why the graphic design of "Crazy ! Baby" on some original issues features the album title and logo in greenish-yellow while other issues including domestic and Japanese CD are in light blue?

Well, the two longest tracks in the "Home cookin'" sessions were both issued on one 45, so I guess they were all right in length for Alfred Lion - 6:48 goes onto a 45 easily. Of course, they might have been edited, I don't have the singles. Usually, though, Michel Ruppli notes in his discographies the times of such edits and there's nothing in the Blue Note discography - not in my edition anyway.

As to the cover of the LP, well I've always had the idea that Reid Miles had a soft spot for Jaguars. Almost all the Blue Note covers featuring Jags were photographed by him, not Francis Wolff. But this album cover is different; it was photographed by someone called Bob Ganley, of whom I've never heard. Wouldn't it be a gas if Reid had deliberately chosen yellow to clash!? Everything about that sleeve isn't quite Blue Note, I feel. With a title like "Crazy baby" (no "Crazy! baby" I just noticed - even more so then) it is certainly not Blue Note style to have a middle class lady in pearls and a tweed dress & coat standing in front of a conventionally photographed Jag in not the right colour for the dress on cobblestones in what I suppose is Central Park. Her expression is as completely uncrazed as one could possibly imagine. And how unlike Blue Note to have a few track titles written on the front cover! But not Quentin Warren and Donald Bailey! I am quite confident that Reid wouldn't unilaterally have chosen that himself; the instructions must have come from Alfred or Francis. But why?

Dunno.

MG

[CJ Shearn]

the things we will never know. Also all the "blurry" images like Maiden Voyage, Night Dreamer, were taken by Reid too I think.

Edited January 11, 2006 by CJ Shearn

[The Magnificent Goldberg]

the things we will never know. Also all the "blurry" images like Maiden Voyage, Night Dreamer, were taken by Reid too I think.

Hadn't noticed that. Well, still haven't in the case of Wayne Shorter. But those were still "real" Blue Note covers, if you get what I mean.

I wonder if there are any other atypical Blue Note sleeves or if "Crazy! baby" is unique. I can't think of any others.

MG

[The Magnificent Goldberg]

I've given this a bit more thought overnight. What I didn't think of yesterday was the release dates of this and other Jimmy Smith material. Blue Note waited a long time before sessions were issued.

According to a 1967 Schwann catalogue I've got lying around, its pages very brown now, the release dates for Jimmy's albums around this time were:

House party - Jan 59

The Sermon - Jan 60

Crazy! baby - Aug 60

Home cookin' - Apr 61

Midnight Special - Dec 61

"Midnight Special" and "Back at the chicken shack" were recorded in April 1960; well before "Crazy! baby" and "Home cookin'" were issued. I don't know when the singles were issued, but would hazard that it wouldn't have been too long in advance of "Crazy! baby".

So it couldn't have been sales that persuaded Jimmy to change his emphasis, because the relevant records hadn't been released. (Pre-release focus groups ?)

(Interestingly, "Bashin'" was recorded only five weeks after "Midnight Special" hit the pop album charts. It obviously wasn't a spur of the moment job, so it had been planned for some little while. Very quick reaction on Creed Taylor's part, it seems.)

MG

[CJ Shearn]

thanks, I was curious about the original release dates. I wasn't aware they were released that late. And you know, I never really thought of Crazy! Baby as an atypical BN cover because of the photo being taken by someone else.

[The Magnificent Goldberg]

thanks, I was curious about the original release dates. I wasn't aware they were released that late. And you know, I never really thought of Crazy! Baby as an atypical BN cover because of the photo being taken by someone else.

No, it's atypical because it's unstylish; no, naff.

MG

[Chuck Nessa]

With this discussion about the "change of style" it is interesting to consider Crazy Baby was the first Smith date recorded in Rudy's new Englewood Cliffs studio.

[Jim Alfredson]

With this discussion about the "change of style" it is interesting to consider Crazy Baby was the first Smith date recorded in Rudy's new Englewood Cliffs studio.

I did not know that. Did RVG have his C3 at that time, or did he buy that later? I've always wondered what organ Jimmy was using for recording before Rudy's C3.