Here is an article quoted from *Hammond Times* Volume 26 Number 2
(July-August 1964) Written by Jimmy Smith entitled "Incredible!"
My first Hammond Organ was bought ten years ago. I was playing piano in
small bands around Philadelphia and was so impressed with the incredible
number and variety of sounds you can get with the Hammond that I couldn't
rest until I had my own.
I never did take lessons, just taught myself. First, I learned about the
drawbars and what each one stood for. As time passed, I experimented trying
out all the different sounds. Next came the presets. I tried them out too
but I don't use them very much except when playing ballads or something
sweet and soft.
When it came to the foot pedals, I made a chart of them and put it on the
wall in front of me wo I wouldn't have to look down. My first method was
just using the toe. In the earlier days I was a tap dancer so the transition
to heel and toe playing was made without too much trouble. One thing I
learned was that you have to have a relaxed ankle. I would write out
different bass lines to try for different tempi in order to relax the ankle.
One useful learning technique was to put my favorite records on and then
play the bass line along with them to see if I could play the pedals without
looking down and only occasionally using my chart on the wall. This worked
When you are properly co-ordinated, you get an even flow in the bass. Most
often, organists are uneven in their playing of the pedals, heavy here and
Soon I was putting hands and feet together and achieving co-ordination.
My first job with the organ was at a Philadelphia supper club, playing a duo
with drums. It was here I began further experimentation with different
drawbar settings and using different effects and dynamics. It was before
these audiences that the Jimmy Smith sound evolved.
People always ask me about this sound. This probably is best explained in
my approach to the organ. While others think of the organ as a full
orchestra, I think of it as a horn. I've always been an admirer of Charlie
Parker. . .and I try to sound like him. I wanted that single-line sound like
a trumpet, a tenor or an alto saxophone.
Shortly afterward, I recorded for Blue Note and my records began to get
popular. After seven years with Blue Note (and twenty-one LP's later) I
moved to MGM records. My first big record for them was "Walk on the Wild
Side," from the movie of the same name. On this record I used a sole setting
of 88 8000 001 on the upper manual on B preset, vibrato off, and percussion
After much harassment from fellow organists, fans, and musicians it is my
intention to publish an organ book. This book will show musically exactly
what I find very difficult to explain editorially.
Ever since I was a child, I wanted to play the better type of music, even
classics. I haven't done anything like that, but I'm going to. I'm going to
scare a lot of people with the incredible number of tones on the Hammond
Organ before I die.
Copyright 1964, Hammond Organ Company, Chicago, Illinois
This page brought to you by:
VintageHammond.Com - We Buy-Sell-Trade Vintage Hammond Organs and Roll or Kari Organ/Vending Machine Moving Dollies Order Roll or Kari Dollies Here