Jazz organist Jimmy Smith is playing the blues

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The popularity of Medeski, Martin and Wood and Joey DeFrancesco, among others, has prompted a huge revival of the Hammond B-3 organ.

So it's more than appropriate that the man who wrote the book on this unusual instrument has his first hit record in years, "Dot Com Blues" (Verve) and is back on tour.

The great Jimmy Smith's 1956 record, "A New Sound, A New Star: Jimmy Smith at the Organ Volume 1" (Blue Note), single-handedly thrust the organ into the world of modern jazz. He plays through Sunday at Jazz Alley (206-441-9729; $16.50-$20.50). Smith performs with his longtime sideman, saxophonist/flutist Herman Riley, plus drummer Tommy Campbell and Bellevue-raised guitar ace Mark Whitfield.

Smith's sparkling new album is the brainchild of Verve President Ron Goldstein, who had the clout and budget to round up an all-star cast to frame Smith's inimitable soloing. B.B. King, Dr. John, Etta James, Keb' Mo' and Taj Mahal all sing on the disc. Dr. John's tune, "Only In It For the Money," kicks things off. James' version of Willie Dixon's "I Just Wanna Make Love To You" and King's "Three O'Clock Blues" also are highlights.

This is not Smith's first foray into the blues - credit Milestone's 1993 disc, "Sum Serious Blues" with that - but it's definitely his best. Presumably, Smith plans to perform some of the vocals from the new disc on his own - he can sing passably well - though he is an unpredictable performer.

Originally from outside Philadelphia, this organ maestro forged his unique style in the early 1950s, while playing piano with Don Gardner and His Sonotones. Having heard jazz-organ pioneer Wild Bill Davis, he asked for a lesson.

"Forget it, kid," Davis said. "It'll take you four years just to learn the pedals alone."

But Smith was determined. He says he got his first organ from a loan shark and had it shipped to a warehouse, where he practiced in secret. In four months, he had not only mastered the instrument, but came up with a new style, adapting the long, speed-crazed lines of be-bop horn players to the scotch 'n' soda mood then prevalent in black neighborhood bars.

In the soul-music climate of the late '50s and early '60s, the sound proved irresistible. By 1962, Smith had the signature hit of his career, the Elmer Bernstein movie theme, "Walk on the Wild Side" (not to be confused with the Lou Reed song of the same name). Two years later, Down Beat magazine created a new category for organ in its annual poll. Not many other musicians can make such a claim.

Since then, Smith has become a legend. And like some legends, he sometimes doesn't live up to expectations. A few years ago at Jazz Alley, he postured and mugged and mumbled more than he played. Nevertheless, it's worth taking a chance to hear the real Big Daddy of the current organ craze.

Guitarist John Scofield, who follows Smith at the Alley Tuesday ($14.40-$18.50), like Smith has benefited lately from the interest by the younger set in funky jazz. But his dynamite new album, "Works For Me" (Verve) has him returning to what he calls "real jazz." Scofield appears with Seamus Blake (reeds), the great Bill Stewart (drums) and Jesse Murphy (bass).

Meanwhile, the Rainbow (206-634-1761) has an avant-garde show this weekend. Tonight and tomorrow ($7), a batch of Seattle musicians led by the wonderful bassist Reuben Radding present "A Tribute to Sun Ra."

Paul de Barros can be reached at pdebarros@seattletimes.com.