Dr. Lonnie Smith: Too Damn Hot!

The future of the soul jazz organ trio remains in good hands at a time when many of the first generation practitioners of this sub-genre are either deceased or inactive. The organ-guitar-drum combo presented here is really a timeless musical arrangement, and these recordings could have been made any time over the past few decades. Peter Bernstein provides the link to previous guitarists in this mode, stretching back to Kenny Burrell, Melvin Sparks, Jimmy Ponder and several others, and his current experience with another B-3 specialist (Larry Goldings) makes him a leading figure on his instrument. The addition of a rhythm guitar to the group adds an rich texture to the sound through Rodney Jones' contributions.

Surprisingly, the title track seems to be anything but "Too Damn Hot." It begins as a mid-tempo laid back blues with Bernstein taking the melody line and a tasty solo. Smith follows and while the tempo doesn't change, the temperature does by way of his heated solo which allows the tune to live up to the title reference. Smith's use of a Locked Hands attack at strategic moments throughout the album adds dramatic tension to the tunes. Horace Silver's "Silver Serenade" is slowed down to a soggy ballad that diminishes the melody line. "Track 9" is a heavily percussive original between Greg Hutchinson, Lonnie Smith and Rodney Jones; Peter Bernstein has to amp up his guitar to keep up with them. "Your Mama's Got A Complex" is a funky R&B vamp that has Dr. Smith singing the disposable refrain. With the exception of "Silver Serenade" and "Someday My Prince Will Come," the remaining tracks are all originals.

At a time when more and more jazz organists are using the instrument in an acid jazz or rock/world beat setting, it is refreshing to see that Dr. Lonnie Smith still remains a torch bearer for this venerable form of jazz.

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