Chester E. Smith

Light Rail Express
Chet wrote this song in tribute to Billy Strayhorn. The chord changes are borrowed from "Take The 'A' Train", the Strayhorn composition This track demonstrates how fun music can be. The nod of course goes to Duke; but then, why not? Chet's orchestration is brilliant as he lets more reed players on the Express at each stop. Vocalist Rochelle Roberts enhances Chet's lyrics. Colin Wenhardt's tenor voice speaks to us as the Light Rail swings down the main line. Someone asks for directions and the T3 baritone sax voice responds, but the only direction that needs to be given comes from Chet's driving piano choruses. Strong, Erroll Garner-like lines pass through Basie and dip into Duke, but ultimately come out clearly Chet. The Dr. Rhythm and Carlos Joe Costa are the engineers pulling the Light Rail with a hard swing feel. ALL BOARD!

Jax Jam
A "Jazz Machine" classic, Chet composed this song shortly after graduation from high school. You can hear several influences in this high-tech Latin Jazz arrangement. Colin Wenhardt's flute work and Dawan Muhammad's tenor sax add the colors needed to make this song complete. Chet stretches out a little on his SY77 Rhodes patch, while Charles and Carlos call and respond to each other at the shout chorus.

Rap It Up
Here's one that sneaks up on you. Chet composed this song in January, 1994. It represents "Swing Hop" with all the trademark elements: the Swing feel, African congas by Tacuma, subtle improvisation and high-tech Funk. This new-age-groove will sweep you off your feet.

South Keeble Groove
On occasion, Chet honors his friends with a musical gift in the form of a composition. The scene is a big green house in San Jose filled with warmth, music, stuff and organs. Chet has his orchestra wide open for this one, the lines are long and flowing. The call and response of the brass and woodwinds highlight this swinging arrangement. The trombone section features the deep voice of Steve Morrow that pushes us forward only to discover a surprise up front. Chet's Yamaha SY77 Jazz organ solo takes over to the delight of all. Classic Hammond organ registrations are applied in Chet's signature fashion. After a few choruses, Chet presses on, continuing what Jimmy Smith and Oliver Nelson started. The trombones bring us back to the ensemble, and Freddie Green-like comping holds everything down. Chet finally takes us home, with what I feel is the most memorable head yet.

Skylane
Here, Chet provides fresh new ideas with Swing Hop, combining melodic, harmonic, and rhythmic elements of Jazz. The beat and high tech sounds give this unique new category a name that fits it well. The multi-timbral patches from the SY77 flow with the T3 piano/vocal patch, and T3 slapping-bass lines funk the foundation. The interaction between Tacuma and the real-time sequence performance give the overall presence a live sound.

Goodbye Blues Theme
Another "Jazz Machine" classic, Chet wrote this little melody in his senior year at Downingtown High. The song is a familiar number to all CSO fans. Chet turns on the Jazz organ patch once more to say exactly what he needs to say. It's one of his most requested originals.

The TUFBENZ
The scene is two friends seated in a 1960 Mercedes Benz 190SL convertible. Chet and his personal valet, barber and close friend Tracy Wilson are on the interstate to pay a visit to a great musician, friend, and organ master Jimmy Smith. TUFBENZ is another journey on Chet's musical map that you can't afford to miss. This performance features the Smith twins and Carlos Joe Costa. The experience is definitely one of winding up in a different place than where you began, it's invigorating and well worth the traffic encountered. The sound created on Chet's keyboards elicit the everyday realities of travel but allow us to fantasize on this get-away trip. The woodwinds put the breeze in your face, while the strumming guitar and deep brass make a smooth road surface. The Jazz organ sound will let you know Chet and Tracy have Jimmy Smith on their mind. Chet said this arrangement is one of his personal ones, the music captures a close friendship and a journey in a joyous excursion of sound.

Jump On It
As the title suggests, Chet jumps right on top of it with his new SY77 Jazz organ programs. His Jazz organ influences are clearly demonstrated in this arrangement. Once again Swing Hop is captured incorporating the Jazz organ, modern rhythms and sound patches. Tacuma is obviously driving this tune with his swing'n Conga Rhythms.

Blue Crescendo
After hearing the 1956 Newport Jazz Festival recording of "Diminuendo in Blue" and "Crescendo in Blue" by Duke Ellington, Chet was convinced that Duke was the grand master of orchestral Jazz. Duke's composition demonstrates the Blues in a completely contemporary form. Using the format Duke employed, Chet composed "Blue Crescendo" in tribute to his musical hero. Chet progressively reveals his bag of tricks on this title cut. This is a spacious chart that does nothing but swing. The bass work serves as your guide through this museum of Jazz from past to present. Just try and keep your feet still, it's impossible! Upon the completion of the first ensemble Colin Wenhardt takes a solo, the piano oversees, making sure nothing is left out. After the final band call, the sax section brings in the orchestra for the ensemble finale. Chet recreated the live big band festival sound in a controlled studio recording session. This selection offers the best of his Jazz orchestration capabilities.