Kevin Whitehead

But in the 1960s, like other jazz stars, he hoped to connect with younger rock record buyers.

Smith was better positioned to cross over than most with electric guitar and drums for a band and plenty of boogieing momentum on his own electric acts.

You can bet rock organists checked him out.

Jimmy Smith on Oliver Nelson's 1966 version of Peter and the Wolf, one of a few good albums the arranger and organist made together, one with Wes Montgomery on guitar.

In search of radio gold, Jimmy Smith stepped out as a singer on a 1968 session.

Janizer's aiming for youth dollars didn't always hit the mark, but his playing was still on the money.

Then portable keyboard synthesizers came along, and groovy Hammond B3 organs suddenly sounded old hat.

From the 1970s on, jazz organ groups would go out of and come back into fashion, and Jimmy Smith's career had its corresponding downs and ups.

He'd spawned so many admirers, it could be hard to hear him with fresh ears.

But Jimmy Smith always delivered the goods, even as the beats behind him changed, and he always displayed what I think of as outlandish good taste.

The history of his instrument is neatly split.

There's jazz organ before Jimmy Smith arrived and jazz organ after.

Simple as that.

Francis Davis and I both started writing about jazz around 1980, and he was one to watch and envy from the first. He was a clear, vivid, funny writer with broad tastes, broad knowledge, and strong opinions, such as only boring people like bass solos. In person, as in print, he had an endearing, self-deprecating sense of humor.

Francis Davis and I both started writing about jazz around 1980, and he was one to watch and envy from the first. He was a clear, vivid, funny writer with broad tastes, broad knowledge, and strong opinions, such as only boring people like bass solos. In person, as in print, he had an endearing, self-deprecating sense of humor.

Francis Davis and I both started writing about jazz around 1980, and he was one to watch and envy from the first. He was a clear, vivid, funny writer with broad tastes, broad knowledge, and strong opinions, such as only boring people like bass solos. In person, as in print, he had an endearing, self-deprecating sense of humor.

Last time I was in touch with him, he cracked jokes about his deteriorating condition. He helped me along in my career once or twice, and as Fresh Air's first jazz critic, he showed how it was done. Pick clear musical examples and point out what to listen for. I repaid him by shamelessly stealing one of his best lines. Ornette Coleman as Charlie Parker's country cousin?

Last time I was in touch with him, he cracked jokes about his deteriorating condition. He helped me along in my career once or twice, and as Fresh Air's first jazz critic, he showed how it was done. Pick clear musical examples and point out what to listen for. I repaid him by shamelessly stealing one of his best lines. Ornette Coleman as Charlie Parker's country cousin?

Last time I was in touch with him, he cracked jokes about his deteriorating condition. He helped me along in my career once or twice, and as Fresh Air's first jazz critic, he showed how it was done. Pick clear musical examples and point out what to listen for. I repaid him by shamelessly stealing one of his best lines. Ornette Coleman as Charlie Parker's country cousin?

I use that one all the time. Thank you, Francis.