I recently picked up the album Here Comes Louis Smith on the Blue Note label. I did not do my usual thing of checking the album out first before ordering. I also had no idea who Louis Smith was (he died in 2016) or how I even came to be looking at the album in the first place. Having heard the album through a couple of times I have to ask: why I have I not heard of this trumpet player from Tennessee before?
Here Comes Louis Smith was his debut album recorded in 1957 – it had originally been recorded for the Transition label but the company went out of business shortly afterwards and before the recording could be released in the spring of ’58. The album masters were acquired by Blue Note producer Alfred Lion. Louis had a stellar supporting group alongside him with Buckshot La Funke (Cannonball Adderley was signed to the Mercury label at the time so used a pseudonym) on alto sax. Duke Jordan and Tommy Flanagan shared piano duties with Doug Watkins on bass and drummer Art Taylor completing the rhythm section.
The album features four Louis Smith compositions and one tune each from Duke Pearson and Hoagy Carmichael. The Duke Pearson number, “Tribute to Brownie“, opens the album with the drums of Art Taylor before Louis Smith comes in with a beautiful clear bop sound. If the opener does not grab your attention then go no further but, in my opinion, the rest of the album does not disappoint and is worthy of a hearing.
Of the four original compositions two are very well executed blues numbers: track 2 – “Brill’s Blues” and track 6 “Val’s Blues”. In fact track 2 features some really nice alto playing from Cannonball Adderley. Tracks 3 (“Ande”) and 5 (“South Side”) are good but it is “South Side” that stands out for me for both the group playing and the solo playing from Smith and Adderley. That leaves just one track to talk about, Hoagy Carmichaels “Star Dust”.
Carmichael wrote “Star Dust” in 1927 and it when on to become a standard that would be recorded by so many of the great and good in jazz music. On this version it is Smith’s solo trumpet work that stands out. The playing has a “haunting” quality to it that just makes everything around the listener disappear leaving only the sound of the trumpet to focus on.
[Those around Smith] make for a potent supporting cast, but the focus is mostly on the criminally obscure Louis Smith. After cutting his second Blue Note set and switching to teaching, Smith would not record again as a leader until 1978. All bop and ’50s jazz fans are strongly advised to pick up this CD ….AllMusic Review by Scott Yano
As I wrote at the beginning of this piece, I have no idea how I came to be looking at this album in the first place but something must have prompted me to do so. I do have to agree with Mr Yano, Louis Smith is a “criminally obscure” artist whose music deserves to be played and heard.