CURATION
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from this page:
by Augmented Matrix
The Integrated Global Creative Economy
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Name:
Dr. Lonnie Smith
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City/Place:
Fort Lauderdale, Florida
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Country:
United States
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Hometown:
Buffalo, New York
Current News
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What's Up?
Dr. Lonnie Smith is now with God.
Life
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Bio:
Dr. Lonnie Smith is an unparalleled musician, composer, performer and recording artist. An authentic master and guru of the Hammond B-3 organ for over five decades, he has been featured on over seventy albums, and has recorded and performed with a virtual “Who’s Who” of the greatest jazz, blues and R&B giants in the industry. Consequently, he has often been hailed as a “Legend,” a “Living Musical Icon,” and as the most creative jazz organist by a slew of music publications. Jazz Times magazine describes him as “a riddle wrapped in an enigma wrapped in a turban!” Always ahead of the curve, it is no surprise Dr. Smith’s fan-base is truly worldwide.
Born in Buffalo, New York, Lonnie was blessed with the gift of music. Through his mother, he was immersed in gospel, blues and jazz at an early age. In his teens, he sang in several vocal groups including his own–the Supremes–formed long before Motown’s eventual iconic act of the same name. Lonnie also played trumpet and other instruments at school and was a featured soloist. In the late ‘50s– with the encouragement of Art Kubera, who owned a local music store that he would visit daily–young Lonnie was given the opportunity to learn how to play a Hammond organ. By completely immersing himself in the records of organists such as Wild Bill Davis, Bill Doggett and Jimmy Smith, as well as paying rapt attention to the church organ, a young Lonnie began to find his musical voice. “Even though I didn’t know how, I was able to play right from the beginning,” Dr. Smith reflects. “I learned how to work the stops and that was it. It’s a passion for me, so everything else came naturally.” Because of Mr. Kubera’s kindness, Dr. Lonnie often refers to Art as his “angel.”
The Doctor’s first gigs were at Buffalo’s hottest jazz club, the Pine Grill, where he rapidly garnered the attention of folks like Jack McDuff, Lou Donaldson, George Benson and the booking agent Jimmy Boyd. George Benson was looking for an organist for his quartet and enlisted Lonnie. The group soon relocated to New York City, where they quickly established a reputation as innovators in Harlem clubs and throughout the area. After appearing on several Benson albums, Lonnie went on to make his first recording as a leader—Finger Lickin’ Good–for Columbia Records in 1966. Shortly thereafter, Smith was scooped up to record by saxophonist Lou Donaldson, for whom Lonnie would appear on several epic Blue Note LPs, including the million-seller, Alligator Boogaloo. Blue Note clearly liked what they heard and inked the organist to his own recording contract, a deal which would produce the soul jazz classicsThink!, Turning Point, Move Your Hand, Drives and Live at Club Mozambique (released many years later).
Since leaving the Blue Note stable in the ‘70s, Dr. Smith has recorded for a slew of record labels, including Kudu, Groove Merchant, T.K., Scufflin’, Criss Cross and Palmetto, ascending the charts many times. His unpredictable, insatiable musical taste illustrates that no genre is safe, as Lonnie has recorded everything from covers of the Beatles, the Stylistics and the Eurythmics, to tribute albums of Jimi Hendrix, John Coltrane and Beck–all by employing ensembles ranging from a trio to a fifteen-piece big band. Moreover, many of Doc’s recent compositions reflect dramatic ethereal qualities and orchestration that elicit movie scores or soundtracks.
Dr. Smith has been amused to find himself sampled in rap, dance and house grooves while being credited as a forefather of acid jazz. When questioned about his consistent interest in music some consider outside the jazz “mainstream,” Lonnie shrugs. “Jazz is American Classical,” he proclaims. “And this music is a reflection of what’s happening at the time… The organ is like the sunlight, rain and thunder…it’s all the worldly sounds to me!”
In 2012, Dr. Smith launched his own record label Pilgrimage Inc., and in 2015, resigned with the iconic Blue Note Records label. Dr. Lonnie Smith’s latest CD has been released on Blue Note. (2016)
Many awards have followed since 1969, when Downbeat magazine named Dr. Lonnie Smith “Top Organist” of the year. 2003-2014 he was awarded “Organist/Keyboardist of the Year” by the Jazz Journalist Association. The Buffalo Music Hall of Fame and Jazz Organ Fellowship have also inducted Dr. Lonnie, and in 2015 he received the Village Music Legends Award.
My Recordings
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For Audio, Visual:
DR. LONNIE SMITH AS LEADER:
All IN MY MIND: Live at the Jazz Standard (Blue Note Records/2018)
EVOLUTION (Blue Note Records/2016)
IN THE BEGINNING VOL 1 & 2 (Pilgrimage Records/2013)
THE HEALER (Pilgrimage Records/2012)
SPIRAL (Palmetto/2010)
THE ART OF ORGANIZING (Criss Cross Jazz/issued 2009)
RISE UP! (Palmetto/2009)
JUNGLE SOUL (Palmetto/2006)
TOO DAMN HOT! (Palmetto/2004)
BOOGALOO TO BECK (Scufflin’/2002)
PURPLE HAZE (Venus/MusicMasters – 1994)
FOXY LADY (Venus/MusicMasters – 1994)
AFRO BLUE (Venus/MusicMasters – 1993)
THE TURBANATOR (32 Jazz/1991)
LENOX AND SEVENTH with Alvin Queen (Black & Blue/1985)
GOTCHA (LRC/1978)
FUNK REACTION (LRC/1977)
KEEP ON LOVIN’ (Groove Merchant/1976)
AFRO-DESIA (Groove Merchant/1975)
MAMA WAILER (Kudu/1971)
LIVE AT CLUB MOZAMBIQUE (Blue Note/1970)
DRIVES (Blue Note/1970)
MOVE YOUR HAND (Blue Note/1969)
TURNING POINT (Blue Note/1969)
THINK! (Blue Note/1968)
FINGER-LICKIN’ GOOD SOUL ORGAN (Columbia/1966-67)
DR. LONNIE SMITH COLLECTIONS:
AFRODESIA (LRC/2003)
AFRO-DESIA/KEEP ON LOVIN’ (Connoisseur/2000)
AFRODESIA (LRC/1996)
LONNIE SMITH (LRC/1991)
LONNIE SMITH/GEORGE BENSON (Europa Jazz/1981)
FLAVORS (1980/1998)
WHEN THE NIGHT IS RIGHT (Chiaroscuro/1980)
LONNIE SMITH (America/1979)
LONNIE WITH OTHERS:
DAY BREAKS - Nora Jones (Blue Note/2016)
I DIDN'T KNOW WHAT TIME IT WAS - Jazz Orchestra of Concertgebouw (JOC/2016)
THAT'S WHAT YOU SAY - JazzInvaders (Unique Germany/2012)
NOTHING BUT THE TRUTH - Soul Sugar (Freestyle/2009)
FRIENDS AND FAMILY – Ray Brown, Jr. (SRI Jazz/2008)
SWEET MISSY – Gloria Coleman featuring George Coleman (Doodlin’/2007)
LITTLE TINY – Sari Yano (Savoy/2007)
LEGENDS OF JAZZ WITH RAMSEY LEWIS (LRSmedia/2006)
NOW – Javon Jackson (Palmetto/2006)
SO WAR’S – VOLL DANEBEN – Olaf Kübler (ACT/2005)
GREASY STREET – Richie Hart (Zoho/2005)
STRAIGHT FROM THE SOURCE – Cyrus Pace (Bright Soul/2005)
HAVE YOU HEARD – Javon Jackson (Palmetto/2005)
NEW YORK TIME – Frode Kjekstad (Curling Legs/2004)
THE DOCTOR IS IN – Crash (Cellar Live/2003)
COAST TO COAST – Red Holloway (Milestone/2003)
HAMMOND RENS – Kresten Osgood (ILK Music/2002)
EASY DOES IT – Javon Jackson (Palmetto/2002)
THE BRIDGE – Karl Denson’s Tiny Universe (Relaxed/2002)
DR. LONNIE SMITH MEETS MARTIEN OSTER AND THE ORIGINAL GROOVES (2001)
GOES BLUE – THE JAZZ GUITAR TRIO VOL. 3 – Ximo Tébar (Nuevos Medios/2001)
SOUL MANIFESTO – Rodney Jones (Blue Note/2001)
THE SPIRIT SPEAKS – Ed Cherry (Justin Time/2000)
MODERN MAN – Bobby Broom (Delmark/2000)
RELAXING AT SEA: LIVE ON THE QE2 – The Lou Donaldson Quartet (Chiariscuro/1999)
McGRIFF’S HOUSE PARTY – Jimmy McGriff (Milestone/1999)
HOMEPAGE – Ximo Tébar (WEA/1998)
AFTER HOURS – Eric Allison (Contemporary/1997)
CHARLES EARLAND’S JAZZ ORGAN SUMMIT (Cannonball/1997)
SO WHAT! – THE JAZZ GUITAR TRIO VOL. 2 – Ximo Tébar (WEA/1997)
BONGOBOP – The Essence All Stars (Hip Bop Essence/1997)
ONE FOOT IN THE BLUES – Johnny Adams (Rounder/1996)
SOUL SERENADE – Jesse Jones (Contemporary/1996)
THE TRUTH – Turk Mauro (Milestone/1996)
POLKA DOTS AND MOONBEAMS – David “Bubba” Brooks (TCB/1996)
MEAN STREETS BEAT – Eric Allison (Contemporary/1996)
A LOOK WITHIN – Javon Jackson (Blue Note/1996)
ORGANIC GROOVES – Essence All Stars (Hip Bop Essence/1996)
SOUL MATES – Terry Myers (Contemporary/1995)
MATING CALL – The Chartbusters (Prestige/1995)
BOILING POINT – Melton Mustafa Orchestra (Contemporary/1995)
HITTIN’ THE JUG – Turk Mauro (Milestone/1995)
STRUTTIN’ – Ron Holloway (Milestone/1995)
CHARTBUSTERS VOLUME 1 – Chartbusters (NYC/1995)
THE BLUE NOTE YEARS VOLUME SEVEN: BLUE NOTE NOW AS THEN (Blue Note/1994)
ROUND THE OUTSIDE – Olaf Kübler (RUM LK/1994)
SENTIMENTAL JOURNEY – Lou Donaldson (Columbia/1994)
PLAY THE RIGHT THING – Lou Donaldson (Milestone/1993)
CARACAS – Lou Donaldson (Milestone/1993)
SECRET AGENT MEN – Secret Agent Men (Akira Tana) (Paddle Wheel/Sons of Sound – 1992)
GOTO – Teruo Goto and the Harlem Art Ensemble (Ninety-One/1992)
NATIVE SON – Gerry Eastman (Williamsburg Music Center/1992)
LIVE JAM – Jazz Funk Masters featuring Lonnie Smith (P-Vine/1992)
COME ON DOWN – Jimmy Ponder (Muse/1990)
LIVE IN NEW YORK – The Harlem Art Ensemble (Explore/1990)
REMEMBERING WES – Richie Hart (Compose/1988-89)
BACK TO BECK – Joe Beck (DMP/1988)
TO REACH A DREAM – Jimmy Ponder (Muse/1988)
IN A JAZZ TRADITION – Eric Gale (EmArcy/1987)
CHARLIE KARP & THE NAME DROPPERS (Grudge/1987)
LIVE AT THE BLUE NOTE – Ronnie Cuber (ProJazz/1985)
STATE OF THE ART – Jimmy McGriff (Milestone/1985)
LABOR OF LOVE – Dave Hubbard (Sybarite Music/1985)
SO MANY STARS – Jimmy Ponder (Milestone/1984)
IN THE BLACK – Monty Guy (Evertone/1984)
LIVE IN MONTREUX 1980 – Marvin Gaye (Eagle/1980)
B. BAKER CHOCOLATE CO. – B. Baker Chocolate Co. (LRC/1979)
BENSON BURNER – George Benson (Columbia/Issued 1976)
RISING SUN – Teruo Nakamura (Polydor/1976)
Lou Donaldson (unissued/1975)
PRETTY THINGS – Lou Donaldson (Blue Note/1970)
EVERYTHING I PLAY IS FUNKY – Lou Donaldson (Blue Note/1970)
MIDNIGHT CREEPER – Lou Donaldson (Blue Note/1968)
MR. SHING-A-LING – Lou Donaldson (Blue Note/1967)
ALLIGATOR BOOGALOO – Lou Donaldson (Blue Note/1967)
THE GEORGE BENSON COOKBOOK – George Benson Quartet (Columbia/1966-67)
IT’S UPTOWN – George Benson Quartet (Columbia/1966)
RED SOUL – Red Holloway (Prestige/1965)
Clips (more may be added)
When creators curate people (and entities) for what they do and where they do it, a matrix is generated.
Following human society, by the mathematical magic of the small-world phenomenon, all inside such a matrix tend to within degrees of all others inside.
And by logical extension, to within degrees of all humanity.
It is almost completely unknown that the Recôncavo of Bahia was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
And widely unknown that Brazil — a repository of African deities now largely forgotten in their lands of origin — absorbed over ten times the number of Africans taken to the United States of America.
And unknown that Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth.
Great culture is great power. This matrix begins here and opens pathways to cultures and creators everywhere.
Recently accessed from:

"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):

...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
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