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The Sermon
  front cover   side a 1 The Sermon *
20:11
Jimmy Smith		  
  back cover   side b

1
5
J

2
.

J.O.S **
11:55
Jimmy Smith

Flamingo ***
8:00
Ed Anderson / Ted Grouya

  
  label a  

recording dates

studio

label

cat no.

  

25/08/57 * / *** / บบ
25/02/58 ** / บ / บบบ

Manhattan Towers

Blue Note

BLP 4011 / BST 84011

  

label b – all from 1984 issue
PERSONNEL
organ
Jimmy Smith
  
trumpet
Lee Morgan * / ** / ***
  
saxophone

George Coleman (alto) **
Lou Donaldson (alto) *
Tina Brooks (tenor) *

  
     
trombone
   Curtis Fuller บ  
     
guitar
  

Kenny Burrell * / ** / *** / บบบ
Eddie McFadden บบ

  
     
drums
  

Art Blakey *
Donald Bailey (all bar *)

  
  TECH  
producer
   Alfred Lion  
     
engineer
   Rudy Van Gelder  
REISSUES label   year   cat no.      
    Blue Note France   1984   BST 84011      
     
    Blue Note   1987  

7460972

1
a

2
a

3
a
a

4
a
a

5
a
a

6
a
a

7

  

with alternative tracks:

'S wonderful บบบ
Gershwin / Gershwin

Blue Room บ
Hart / Rodgers

Lover Man บบ
7:00
Davis / Ramirez / Sherman

Confirmation *
10:34
Parker

Au Privave *
15:09
Parker

The Sermon *
20:11
Jimmy Smith

Flamingo ***
8:00
Ed Anderson / Ted Grouya

  
     
    Blue Note   25/10/90   46097   same tracks as previous  
     
    Blue Note Japan   15/03/99   512122      
     
    Blue Note   12/09/00   24541   RVG edition  
     
    Blue Note Japan   25/10/00       Limited Edition - Original Recording Remastered  
REVIEW   The title track of this album is justifiably one of Jimmy's most well-known. In a way that's a little unfair because, apart from setting up the soulful melody, he doesn't feature too much in it. He does take a short solo at the start but that's it. For the other seventeen minutes he vamps under the others as they solo. Still, it's a track that has plenty going for it, as evidenced by the line up. Each of the other musicians on here went on to become stars in their own right, for good reasons. It also marks the start of the sound that became known as soul jazz. The second side is just nowhere near as good. It starts with a uptempo bop number that spoils the luxurious groove laid down on the first side and finishes with a very quiet number that is too laid back for it's own good. It also features almost no Jimmy solo action.