Jimmy McGriff

One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification. His sound -- deep, down-to-earth grooves drenched in blues and gospel feeling -- made him quite popular with R&B audiences, even more so than some of his peers; what was more, he was able to condense those charms into concise, funky, jukebox-ready singles that often did surprisingly well on the R&B charts. His rearrangement of Ray Charles' "I Got a Woman" was a Top Five R&B hit in 1962, and further hits like "All About My Girl," "Kiko," and "The Worm" followed over the course of the '60s. McGriff spent much of the '70s trying to keep pace with the fusion movement, switching to various electric keyboards and adopting an increasingly smooth, polished style. As the '80s dawned, McGriff gave up trying to sound contemporary and returned to his classic organ-trio sound; as luck would have it, vintage soul-jazz soon came back into vogue with a devoted cult of fans and critics, and McGriff was able to recover his creative vitality and take his place as one of the genre's elder statesmen.

James Harrell McGriff, Jr. was born April 3, 1936, in Philadelphia. His mother and father both played the piano, and he counted saxophonist Benny Golson and soul singer Harold Melvin among his cousins. First getting involved in music through his family's church, he received his first instrument, a drum set, at age eight; by his teen years, he had taken up acoustic bass and alto sax, and also learned vibes, piano, and drums by the time he finished high school. Bass remained his primary instrument for a while, although he was inspired to try his hand at the Hammond organ after seeing Richard "Groove" Holmes at a club in Camden, NJ. However, McGriff was drafted into the military after high school, and served in the Korean War as a military policeman. Upon returning to the United States, he decided to make law enforcement a career, and after completing the necessary training, he worked on the Philadelphia police force for two and a half years. Still, he never lost interest in music, and around 1955 he augmented his day job by working as a bass player behind vocalists like Carmen McRae and, most frequently, Big Maybelle, who had a regular gig at the local Pep's Showboat club.

With the Hammond organ rising in popularity around Philadelphia, jobs for bass players were scarce, and McGriff contacted Groove Holmes about learning the organ, this time in earnest. He bought his own Hammond B-3 in 1956, and spent the next six months practicing as hard as he could, either at Holmes' house or at Archie Shepp's house (where he stored the instrument). Skipping more and more work time to play gigs, he finally quit the police force, and enrolled at the local Combe College to study music. He later moved on to the prestigious Juilliard School of Music in New York, and also studied privately with Milt Buckner, Jimmy Smith, and Sonny Gatewood. McGriff's first recording was the single "Foxy Due," cut for the small White Marsh label in 1958; it featured a young saxophonist named Charles Earland, who subsequently learned the organ from McGriff and, like his mentor, went on to become one of the instrument's quintessential performers.

McGriff was performing in a small club in Trenton, NJ in 1962 when a talent scout from the small Jell label heard him and offered him a chance to record. McGriff's instrumental soul-jazz rearrangement of Ray Charles' classic "I've Got a Woman" was released as a single, and sold well enough for Juggy Murray's New York-based Sue label to pick it up for wider release. With better distribution and promotion behind it, "I've Got a Woman" hit the national charts and became a bona fide hit, climbing into the Top Five on the R&B charts and the Top 20 over on the pop side. Sue issued McGriff's debut album, naturally also titled I've Got a Woman, in 1963; it too was a hit, nearly making the pop Top 20, and it spun off two more charting singles in the McGriff originals "All About My Girl" (number 12 R&B, Top 50 pop) and "M.G. Blues." Sue released several more McGriff albums over the next two years, including the live At the Apollo, Jimmy McGriff at the Organ (which produced the chart single "Kiko"), the holiday hit Christmas With McGriff (actually his highest-charting album at number 15 pop), the charting Topkapi (a collection of soundtrack themes with orchestral backing), and another chart hit, Blues for Mister Jimmy, which proved to be his last on Sue.

In 1966, McGriff moved over to the Solid State label, where he hooked up with producer Sonny Lester, who would helm most of his records through the '70s. He debuted with Jimmy McGriff and the Big Band, which found him fronting an all-star swing orchestra featuring many Count Basie alumni (it was later reissued as A Tribute to Count Basie). McGriff recorded prolifically for Solid State over the remainder of the decade, including albums like A Bag Full of Soul (1966), A Bag Full of Blues (1967), and I've Got a New Woman (1968; mostly a look back at his Sue material). Most notably, though, McGriff scored another hit single with "The Worm," which made the R&B Top 30 and sent the LP of the same name rocketing into the R&B Top Ten in early 1969. In addition to his Solid State recordings, McGriff cut several albums for Blue Note over 1969-1971, most notably Electric Funk, an early foray into jazz-funk fusion that teamed him with arranger/electric pianist Horace Ott; a similar outing that featured pop/rock and R&B covers, Soul Sugar, was released on Capitol during the same period. Additionally, McGriff toured as part of Buddy Rich's band during the late '60s, and again from 1971-1972.

McGriff made Groove Merchant his primary label in 1971, and although he briefly quit the business in 1972 to start a horse farm in Connecticut, the lure of music proved too powerful to overcome. Early in the decade, he alternated between funky electric outings (usually with covers of contemporary rock and R&B hits) and more traditional, small-group organ-jazz settings. Notable albums included 1973's Giants of the Organ Come Together, a summit with mentor and longtime friend Groove Holmes; a duo album with bluesman Junior Parker; 1976's Mean Machine, a slicker jazz-funk LP that returned him to the R&B album chart's Top 50; and the 1977 follow-up Red Beans, which also sold respectably.

After 1977's Tailgunner (on LRC), McGriff's recorded output tailed off over the next few years. He resurfaced on the Milestone label in 1983, debuting with Countdown, a return to his classic, bluesy soul-jazz style that started to bring him back into the jazz spotlight. A series of strong albums followed during the '80s, including 1984's Skywalk, 1985's State of the Art, 1986's acclaimed The Starting Five, and 1988's Blue to the 'Bone (a near-Top Ten hit on the jazz LP charts); he also recorded a one-off session for Headfirst in 1990, You Ought to Think About Me, that made the jazz Top Ten. Additionally, McGriff co-led a group with saxophonist Hank Crawford during the late '80s, which released several albums, including 1990's popular On the Blue Side (number three on the jazz charts). He also returned to his roots in the church by playing on gospel singer Tramaine Hawkins' 1990 live album. McGriff and Crawford moved over to Telarc for a pair of albums over 1994-1995, Right Turn on Blue and Blues Groove. As soul-jazz returned to cult popularity in both America and the U.K., McGriff found himself playing higher-profile gigs and venues on both sides of the Atlantic. He returned to Milestone and resumed his solo career in 1996 with The Dream Team, which featured saxman David "Fathead" Newman and drummer Bernard "Pretty" Purdie, both of whom would become familiar faces on McGriff recordings in the years to come. Follow-ups included solid records like 1998's Straight Up, 2000's McGriff's House Party, 2001's Feelin' It, and 2002's McGriff Avenue, which looked back on some of his '60s hits.

from Wikipedia:

James Harrell McGriff (April 3, 1936—May 24, 2008) was an American hard bop and soul-jazz organist and organ trio bandleader who developed a distinctive style of playing the Hammond B-3 organ.

Biography

Early years and influences

Born in Germantown, Pennsylvania, McGriff started playing piano at the age of five and by his teens had also learned to play vibes, alto sax, drums and upright bass. His first group was as bassist in a piano trio. When he joined the United States Army, McGriff served as an MP during the Korean War and he later became a police officer in Philadelphia for two years.

Music kept drawing McGriff's attention away from the police force. His childhood friend, organist Jimmy Smith, had begun earning a substantial reputation in jazz for his Blue Note records (the two played together once in 1967) and McGriff became entranced by the organ sound while Richard "Groove" Holmes played at his sister's wedding. Holmes went on to become McGriff's teacher and friend and they recorded together on two occasions in 1973 for two Groove Merchant records.

McGriff bought his first Hammond B-3 organ in 1956, spent six months learning the instrument, then studied at New York's Juilliard School. He also studied privately with Milt Buckner, Jimmy Smith, and Sonny Gatewood. He was influenced by the energy and dynamics of organist Milt Buckner and the diplomatic aplomb of Count Basie, and by local pianists such as Howard Whaley and pianist Austin Mitchell.

1960s: First combos

McGriff formed a combo that played around Philadelphia and often featured tenor saxophonist Charles Earland (who soon switched permanently to organ, and became one of the instrument's renowned performers). During this time, McGriff also accompanied such artists as Don Gardner, Arthur Prysock, Candido and Carmen McRae, who came through town for local club dates.

In 1961, McGriff's trio was offered the chance to record an instrumental version of Ray Charles' hit "I've Got a Woman" by Joe Lederman's Jell Records, a small independent label. When the record received substantial local airplay, Juggy Murray's Sue label picked it up and recorded a full album of McGriff's trio, released in 1962. The album also turned out another huge hit in McGriff's "All About My Girl", establishing McGriff's credentials as a fiery blues-based organist, well-versed in gospel, soul and "fatback groove".

McGriff recorded a series of popular albums for the Sue label between 1962 and 1965, ending with what still stands as one of his finest examples of blues-based jazz, Blues for Mister Jimmy. When producer Sonny Lester started his Solid State record label in 1966, he recruited McGriff to be his star attraction. Lester framed McGriff in many different groups, performing a wide variety of styles and giving the organist nearly unlimited opportunities to record. McGriff was heard everywhere from an all-star tribute to Count Basie; The Big Band, a series of organ and blues band records such as A Thing to Come By (1969), pop hits ("Cherry", "The Way You Look Tonight") and funk classics (Electric Funk and singles such as "The Worm" and "Step 1").

During this time, McGriff performed at clubs and concert halls worldwide. He settled in Newark, New Jersey, and eventually opened his own supper club, the Golden Slipper - where he recorded Black Pearl and a live album, Love Ain’t Nothin’ But A Business Goin’ On with Junior Parker in 1971. Beginning in 1969, he also performed regularly with Buddy Rich's band, though the two were only recorded once together in 1974 on The Last Blues Album Volume 1.

1970s-1980s

McGriff "retired" from the music industry in 1972 to start a horse farm in Connecticut. But Sonny Lester's new record company, Groove Merchant, kept issuing McGriff records at a rate of three or four a year. By 1973, McGriff was touring relentlessly and actively recording again. Around this time, disco was gaining a hold in jazz music and McGriff's flexibility proved infallible. He produced some of his best music during this period: Stump Juice (1975), Red Beans (1976) and Outside Looking In (1978). These albums still stand out today as excellent documents of McGriff's organ playing.

By 1980, McGriff broke away from Sonny Lester and began working actively with producer Bob Porter (and recording engineer Rudy Van Gelder). McGriff began a long relationship with Fantasy Records' Milestone label, collaborating with Rusty Bryant, Al Grey, Red Holloway, David "Fathead" Newman, Frank Wess and Eric Alexander.

In 1986, McGriff started a popular partnership with alto saxophone player Hank Crawford. Their partnership yielded 1987's Soul Survivors and 1997's Road Tested. But it was only during their brief period at Telarc in the mid 1990s that McGriff's name headlined the popular club and cruise ship attraction.

1990s-2000s

Between 1994 and 1998, McGriff also experimented with the Hammond XB-3, an organ synthesizer that increased the organ's capabilities with MIDI enhancements. This gave McGriff an unnatural synthesized sound, which probably explains his retreat from the instrument on late recordings such as 2000's McGriff's House Party (featuring fellow organist Lonnie Smith). House Party did include the use of the XB-3; however, he did not use the MIDI functions.

McGriff was one of the first B3 players to add MIDI to the upper keyboard his personal B3 to add and extend "his sound" beyond just the drawbar sound of the B3. He incorporated synthesizers in his live performances as he liked vibes, piano, string, brass and other sounds that could only be created by a synthesizer and which the classic B3 cannot provide. Jimmy purchased the XB-3 as he had more control over the MIDI functions, and the XB-3 weighs about half of the classic B3, which made it easier to move.

Jimmy, as well as Groove Holmes, spent a great deal of time experimenting and modifying their B3's and Leslie speakers over the years. Some of these modifications made their way into products manufactured by both Hammond and Leslie, for which they did not always receive credit.

Along with the soul-jazz sound, McGriff experienced renewed popularity in the mid-1990s, forming The Dream Team group, which featured David "Fathead" Newman (a longtime saxophonist with Ray Charles) and drummer Bernard Purdie, and recording the Straight Up (1998), McGriff's House Party (2000), Feelin' It (2001), and McGriff Avenue (2002) albums.

On March 29, 2008, McGriff was given a last private concert by "Mr. B3" Bill Dilks and Grant Macavoy in his honor in Voorhees, New Jersey. Dilks brought his B3 and played for McGriff his wife Margaret, their guests, and the folks at Genesis HealthCare. As Dilks said, "The Hammond reaches its players far beyond where the conscious mind lives".

A resident of Voorhees Township, New Jersey, McGriff died there at age 72 on May 24, 2008, due to complications of multiple sclerosis.