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James Harrell McGriff (April 3, 1936 – May 24, 2008)[1] was an American hard bop and soul-jazz organist and organ trio bandleader.

Biography

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Early years and influences

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Born in Germantown, Philadelphia, Pennsylvania,[2] McGriff started playing piano at the age of five and by his teens had also learned to play vibes, alto sax, drums and upright bass.[3] He played bass in his first group, a piano trio. When he joined the United States Army, McGriff served as a military policeman during the Korean War. He later became a police officer in Philadelphia for two years.[1]

Music kept drawing McGriff's attention away from the police force. His childhood friend, organist Jimmy Smith, had begun earning a substantial reputation in jazz for his Blue Note albums (the two played together once in 1967) and McGriff became entranced by the organ sound while Richard "Groove" Holmes played at his sister's wedding. Holmes went on to become McGriff's teacher and friend and they recorded together on two occasions in 1973 for two Groove Merchant records.

McGriff bought his first Hammond B-3 organ in 1956, spent six months learning the instrument, then studied at New York's Juilliard School. He also studied privately with Milt Buckner, Jimmy Smith, and Sonny Gatewood. He was influenced by the energy and dynamics of organist Buckner and the diplomatic aplomb of Count Basie, and by local organists such as Howard "The Demon" Whaley and Austin Mitchell.

1960s: First combos

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McGriff formed a combo that played around Philadelphia and often featured tenor saxophonist Charles Earland (who soon switched permanently to organ, and became one of the instrument's renowned performers). During this time, McGriff also accompanied such artists as Don Gardner, Arthur Prysock, Candido and Carmen McRae, who came through town for local club dates.[1]

In 1961, McGriff's trio was offered the chance to record an instrumental version of Ray Charles' hit "I've Got a Woman" by Joe Lederman's Jell Records, a small independent label.[2] When the record received substantial local airplay, Juggy Murray's Sue label picked it up and recorded a full album of McGriff's trio, released in 1962.[2] The album also turned out another hit in McGriff's "All About My Girl",[3] establishing McGriff's credentials as a fiery blues-based organist, well-versed in gospel, soul and "fatback groove".

McGriff recorded a series of popular albums for the Sue label between 1962 and 1965, ending with what still stands as one of his finest examples of blues-based jazz, Blues for Mister Jimmy. When producer Sonny Lester started his Solid State record label in 1966, he recruited McGriff to be his star attraction. Lester framed McGriff in many different groups, performing a wide variety of styles and giving the organist nearly unlimited opportunities to record. McGriff was heard everywhere from an all-star tribute to Count Basie: The Big Band (1966), a series of "organ and blues band" albums such as Honey (1968) and A Thing to Come By (1969), funk classics like Electric Funk (1970), covering pop hits ("Cherry", "Blue Moon", "The Way You Look Tonight") and such original singles as "The Worm" and "Step One".

During this time, McGriff performed at clubs and concert halls worldwide. He settled in Newark, New Jersey, and eventually opened his own supper club, The Golden Slipper - where he recorded Black Pearl and another live album, Chicken Fried Soul with Junior Parker in 1971. Beginning in 1969, he also performed regularly with Buddy Rich's band, though the two were only recorded once together in 1974 on The Last Blues Album Volume 1.

1970s–1980s

[edit]

McGriff "retired" from the music industry in 1972 to start a horse farm in Connecticut. But Sonny Lester's new record company, Groove Merchant, kept issuing McGriff records at a rate of three or four a year. By 1973, McGriff was touring relentlessly and actively recording again. Around this time, disco was gaining a hold in jazz music and McGriff's flexibility proved infallible.[3] He produced some of his best music during this period: Stump Juice (1975), The Mean Machine (1976), Red Beans (1976) and Outside Looking In (1978). These albums still stand out today as excellent documents of McGriff's organ playing.[1]

By 1980, McGriff broke away from Sonny Lester and began working actively with producer Bob Porter (and recording engineer Rudy Van Gelder). McGriff began a long relationship with Milestone Records collaborating with Rusty Bryant, Al Grey, Red Holloway, David "Fathead" Newman, Frank Wess and Eric Alexander.

In 1986, McGriff started a popular partnership with alto saxophone player Hank Crawford. Their partnership yielded five co-leader dates for Milestone records: Soul Survivors (1986), Steppin' Up (1987), On the Blue Side (1989), Road Tested (1997), and Crunch Time (1999), as well as two dates for Telarc Records: Right Turn on Blue (1994) and Blues Groove (1995).

1990s–2000s

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Between 1994 and 1998, McGriff also experimented with the Hammond XB-3, an organ synthesizer that increased the organ's capabilities with MIDI enhancements.[3] This gave McGriff an unnatural synthesized sound, which probably explains his retreat from the instrument on late recordings such as 2000's McGriff's House Party (featuring fellow organist Lonnie Smith). House Party did include the use of the XB-3; however, he did not use the MIDI functions.

McGriff was one of the first B3 players to add MIDI to the upper keyboard of his personal B3 to add and extend "his sound" beyond just the drawbar sound of the B3. He incorporated synthesizers in his live performances as he liked vibes, piano, strings, brass and other sounds that could only be created by a synthesizer and which the classic B3 cannot provide. Jimmy purchased the XB-3 as he had more control over the MIDI functions, and the XB-3 weighs about half of the classic B3, which made it easier to move.

Along with the soul-jazz sound, McGriff experienced renewed popularity in the mid-1990s, forming 'The Dream Team' group, which featured David "Fathead" Newman (a longtime saxophonist with Ray Charles) and drummer Bernard Purdie, and recording The Dream Team (1997), Straight Up (1998), McGriff's House Party (2000), Feelin' It (2001), and McGriff Avenue (2002) albums.

On March 29, 2008, McGriff was given a last private concert by Bill "Mr. B3" Dilks and drummer Grant MacAvoy in his honor in Voorhees Township, New Jersey. Dilks brought his B3 and played for McGriff, his wife Margaret, their guests, and the folks at the Genesis Health Care Center. As Dilks said, "The Hammond reaches its players far beyond where the conscious mind lives".

A resident of Voorhees Township, New Jersey, McGriff died there at age 72 on May 24, 2008, of complications of multiple sclerosis.[4][5][6]

Discography

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As leader/co-leader

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LP/CD compilations

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  • A Toast to Jimmy McGriff's Greatest Hits (Sue, 1965)
  • Jimmy McGriff's Greatest Organ Hits (Veep Records/United Artists, 1968)
  • If You're Ready, Come Go with Me (Groove Merchant, 1974)
  • Flyin' Time (Groove Merchant, 1975) 2LP
  • Supa Cookin' (Groove Merchant, 1975) - with Richard Groove Holmes; 2LP
  • Alive & Well (51 West/CBS, 1980) - Groove Merchant and LRC material
  • Soul Brothers (Milestone, 1989) - with Hank Crawford
  • Georgia On My Mind (LRC, 1989)
  • The Jazz Collector Edition (Laserlight, 1991)
  • Pullin' Out The Stops! The Best Of Jimmy McGriff [AKA Greatest Hits] (Blue Note, 1994)
  • Funkiest Little Band In The Land (Laserlight, 1996)
  • Dig On It: The Groove Merchant Years (Connoisseur Collection, 2000)
  • 100% Pure Funk (LRC, 2001)
  • The Best of Hank Crawford & Jimmy McGriff (Milestone, 2001)
  • The Best of the Headfirst Years (Headfirst/K-Tel, 2003)
  • The Best of the Sue Years 1962-1965 (Stateside, 2006)

Charted singles

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Single Year US

[7]

US

R&B

[7]

"I've Got A Woman (Part I)" 1962 20 5
"All About My Girl" 1963 50 12
"M.G. Blues" 95 —
"The Last Minute (Part I)" 99 —
"Kiko" 1964 79 19
"The Worm" 1968 97 28

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jimmy McGriff

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Jimmy McGriff (April 3, 1936 – May 24, 2008) was an American and organist best known for his virtuosic playing on the Hammond B-3 organ, blending elements of , , , and into a distinctive, groove-oriented style that emphasized bluesy intensity and danceable rhythms. Born in Philadelphia's Germantown neighborhood—a hub for jazz organists in the 1950s and 1960s—McGriff began playing piano at age five under his father's guidance and later explored instruments such as the alto saxophone, vibraphone, drums, and upright bass. He studied music at the Juilliard School and Combs College of Music, receiving private instruction from organ pioneers including Milt Buckner, Jimmy Smith, Richard "Groove" Holmes, and Sonny Gatewood, which shaped his transition to the organ after being inspired by Holmes' recordings. McGriff launched his professional career in the early , leading an organ combo and achieving breakthrough success with his 1962 cover of ' "I've Got a Woman," which reached the Top 20 on the pop charts and No. 5 on the R&B charts, establishing him as a staple on the East Coast organ circuit. He recorded prolifically for labels such as Sue, Solid State, , Groove Merchant, and , producing hits like "All About My Girl" and "The Worm" that became favorites, as well as acclaimed albums including Topkapi (1964) and Blues for Mister Jimmy (1965). Notable collaborations included long-term partnerships with saxophonist Hank Crawford starting in 1986, stints with Buddy Rich's in the late and early , and work alongside musicians like Junior Parker, , , and . In the 1970s, McGriff owned and operated the Golden Slipper jazz club in Newark, New Jersey, further cementing his influence in the genre, though he later focused on touring and recording. His career spanned over four decades, with his final album, McGriff Avenue, released in 2002, and a live recording captured at New York City's Smoke club in 2006, before health issues including multiple sclerosis forced his retirement in 2007. McGriff died of heart failure in a New Jersey nursing home at age 72, leaving a legacy as one of the foremost Hammond organ exponents who bridged jazz traditions with popular appeal.

Life and career

Early life and influences

James Harrell McGriff Jr. was born on April 3, 1936, in the Germantown neighborhood of , , to parents who were both accomplished . His father, a , encouraged his early interest in music, and McGriff began playing at the age of five, often performing on the organ during services at his family's Baptist church. He received a drum set as a gift at age eight and, by the time he graduated high school, had also taken up the , upright bass, and , largely teaching himself these instruments through persistent practice. His cousins, saxophonist and soul singer Harold Melvin, further immersed him in Philadelphia's vibrant musical scene from a young age. Following high school, McGriff was drafted into the U.S. Army during the era, where he served as a policeman but also played in the service band, gaining initial exposure to ensemble performance. After his discharge around 1953, he spent two years on the police force before pursuing formal music studies. He enrolled at the Combs College of Music in to focus on and organ, while also attending the briefly for six months and taking private lessons with organists Milt Buckner, Jimmy Smith, and Sonny Gatewood. In 1956, inspired by a performance from organist Richard "Groove" Holmes, McGriff purchased his first Hammond B-3 organ and began self-teaching the instrument under Holmes's mentorship, marking a pivotal shift toward his signature sound. McGriff's formative influences drew deeply from blues, gospel traditions in Black churches, and jazz pioneers, including early admiration for saxophonist and pianist . He was particularly shaped by the innovative styles of Jimmy Smith and Groove Holmes, as well as the swing-era organ work of Milt Buckner and the rhythmic drive of Count Basie. These elements fueled his development before transitioning to a professional jazz career in the early 1960s. By the late 1950s, he was gigging in Philadelphia's R&B and blues clubs, forming an early organ combo that featured young tenor saxophonist , with whom he collaborated frequently around 1960.

1960s breakthrough

McGriff's breakthrough came in 1962 when he signed with the independent New York label after a scout heard his instrumental cover of ' "I've Got a Woman" during a club performance. Released as a single that year, the track peaked at number 20 on the and number 5 on the R&B chart, marking one of the label's first major hits in the jazz realm. This success led to his debut album, I've Got a Woman, issued later in 1962, which nearly reached the pop Top 20 and solidified his reputation for blending soulful R&B with jazz organ improvisation. Building on this momentum, McGriff formed his first , typically featuring guitar and drums, to showcase the Hammond B-3's capabilities in intimate settings. The group performed regularly at East Coast clubs, where he honed his blues-infused grooves drawing from influences like Jimmy Smith. Key releases on Sue followed, including At the Organ (1963) and One Step Ahead (1964), the latter highlighting his rhythmic drive and melodic phrasing in trio configurations. Another single from 1963, "All About My Girl," climbed to number 50 on the Hot 100 and number 12 on the R&B chart, further boosting his profile in the burgeoning soul-jazz movement. By 1965, McGriff transitioned to Solid State Records, a subsidiary of , expanding his sound with fuller arrangements while retaining the organ's central role. Albums like Blues for Mister Jimmy (initially on Sue but reissued in context with his evolving style) and A Bag Full of Soul (1966) emphasized funky, accessible grooves that appealed to both enthusiasts and broader audiences in the hard bop scene. These works exemplified his early experimentation with the Hammond B-3, prioritizing bluesy, danceable lines over complex harmonic exploration to capture the era's crossover energy.

1970s and 1980s developments

In 1972, amid shifting dynamics in the industry, Jimmy McGriff briefly retired from music to manage a horse farm in . He returned to performing and recording the following year, aligning with Sonny Lester's newly established Groove Merchant label, which became a key outlet for his output during the mid-1970s. McGriff's Groove Merchant period emphasized a fusion of and , evident in albums such as Stump Juice (1975, Groove Merchant Records), which incorporated rhythmic grooves and bluesy organ lines, and Red Beans (1976), featuring upbeat tracks that highlighted his improvisational flair. By 1978, he had shifted to the Lester Radio Corporation (LRC) label for Outside Looking In, an effort that continued exploring soulful, accessible arrangements while maintaining his signature Hammond B-3 tone. These releases reflected a broader stylistic experimentation, blending traditional formats with contemporary elements. Entering the 1980s, McGriff joined Milestone Records, where he produced a series of soul-jazz albums, including the collaborative Steppin' Up (1987) with saxophonist Hank Crawford, showcasing tight interplay between organ and horns. His partnership with drummer , which began in the late , yielded the 1974 Groove Merchant recording The Last Blues Album Volume 1 and involved ongoing performances that extended into the decade, reinforcing McGriff's reputation in live settings. Meanwhile, McGriff owned and operated The Golden Slipper, a Newark nightclub that served as a vital hub for the local scene until its closure in the late 1970s, hosting numerous performances and recordings that nurtured emerging talent. Throughout this era, McGriff leaned into a more commercial soul-jazz sound, incorporating electric influences through his and emphasizing organ-guitar duos in live shows, often featuring collaborators like Jimmy Ponder for dynamic, blues-infused dialogues. Despite emerging personal challenges, including the onset of health issues in the , he maintained an active touring schedule, performing across the East Coast and sustaining his connection to club audiences.

1990s and 2000s

In the 1990s, McGriff returned to the label, where he resumed a productive phase of recording, including solo efforts and deepened collaborations with saxophonist Hank Crawford. Their partnership, which began in the mid-1980s, produced five joint albums between 1986 and 1999, with notable peaks in the decade such as The Dream Team (1997) and Crunch Time (1999), blending soul-jazz grooves with blues-inflected improvisation. McGriff explored technological adaptations in his sound during this period, notably incorporating the Hammond XB-3 synthesizer organ on McGriff's House Party (2000, ), which fused traditional Hammond B-3 tones with electronic effects for a modern edge while retaining soul- roots. The album featured guest organist on select tracks, alongside guitarist Rodney Jones and drummer , emphasizing rhythmic drive and bluesy melodies. Entering the 2000s, McGriff continued releasing straight-ahead jazz albums on Milestone, including Feelin' It (2001) and McGriff Avenue (2002), which highlighted his signature organ trio format with swinging interpretations of standards and originals. These works underscored a return to core soul-jazz sensibilities amid evolving jazz landscapes. He maintained an active touring schedule with organ trios through the early 2000s, including international engagements like a 2004 Japan tour alongside and . McGriff was diagnosed with in 1996, a condition that gradually impacted his mobility but did not halt his performances until 2007, when he navigated stages using a motorized . Despite these challenges, he recorded steadily, with McGriff Avenue marking his final studio album. Throughout the period, McGriff mentored emerging organists, including , through collaborative jam sessions and events such as the 2004 Organ Summit in and a Hammond summit featuring multiple B-3 players. These interactions passed on techniques rooted in Philadelphia's soul-jazz tradition.

Death and legacy

In his final years, McGriff battled , a condition he had been diagnosed with many years earlier, which increasingly limited his performances. On May 24, 2008, he died at age 72 in , from complications of the disease. McGriff's death prompted immediate tributes in major publications, with obituary praising his role in popularizing the funky soul- organ sound of the 1960s through hits like his instrumental version of Ray Charles's "I've Got a Woman." Similarly, highlighted his blues-rooted mastery of the , positioning him as a key figure in blending with and R&B influences. McGriff's legacy endures as one of the pioneers who elevated the Hammond B-3 organ within and soul-jazz, particularly through his fusion of grooves with improvisation, alongside contemporaries like Jimmy Smith and Richard "Groove" Holmes. His roots contributed significantly to the city's status as a hub for organists, where he mentored emerging talents such as , who joined McGriff's band and developed his own organ style from the experience. McGriff also owned the Golden Slipper nightclub in nearby , providing a venue for East Coast organ trios and fostering the regional scene. His influence persists among modern organists and in the soul-jazz revival, emphasizing accessible, groove-oriented playing that bridges traditions with .

Musical style and equipment

Key influences and technique

McGriff's organ playing drew heavily from the innovations of Jimmy Smith, whose adaptations on the Hammond B-3 established the instrument as a staple, as well as from studies with Milt Buckner, a pioneer of organ roots, and Richard "Groove" Holmes, admired for his soulful, emotive phrasing. Blues traditions, including those exemplified by Wild Bill Davis's rhythmic drive, further grounded his approach, blending gospel fervor from black church music with secular grit. Central to his technique was proficient pedal bass work, employing walking lines to anchor grooves while freeing the right hand for solos that evoked the bold, declarative punch of horn sections. McGriff manipulated the Hammond B-3's drawbars to craft tonal variety, shifting registrations for percussive attacks and warm sustains that amplified his blues-inflected lines. He adopted the early for its swirling effects, integrating it into his setup by 1956 following his U.S. Army service as a military policeman during the . Unlike more improvisationally dense players, McGriff prioritized groove-oriented execution, where rhythmic propulsion took precedence, allowing him to fuse R&B's infectious syncopations with for a swinging, accessible feel rooted in and . His sound was more deeply immersed in shadings than Smith's swinging flair—McGriff once called himself the "king of organ "—yet it veered less toward the overt of Jack McDuff's ensembles. This core style laid the groundwork for his 1970s adaptations toward funkier rhythms.

Signature sound and innovations

Jimmy McGriff's signature sound on the Hammond B-3 organ was characterized by a deep, tone infused with phrasing and a gritty, rhythmic drive that evoked church-like voicings, often described as greasy licks supported by heavy left-hand bass lines and deep pocket funkiness. This approach, rooted in more than improvisation, featured concise, jukebox-ready grooves that prioritized funky swing and riff-based melodies, making his playing accessible and emotionally resonant. He achieved this through rich, thick drawbar settings—such as 868000000 or 888000000 on the upper manual and 848000000 or 838000000 on the lower—combined with subtle /chorus (C3 setting) and percussion off or soft for a dramatic, organic swell. McGriff's innovations advanced soul-jazz by bridging hard bop's improvisational depth with commercial R&B's accessibility, as seen in his early 1970s incorporation of electric bass and rhythms on albums like Electric Funk (1970), an early experiment with arranger that featured strong guitar and bass grooves. In the 1990s, he explored synthesized textures via the Hammond XB-3 organ synthesizer, which added capabilities for enhanced effects without fully abandoning the instrument's organic feel, though he largely reverted to traditional sounds by the late decade for recordings like Straight Up (1998). His trio format evolved from the guitar-drums lineup of the 1960s, as on his 1962 debut, to incorporating horns in 1980s collaborations, such as with alto saxophonist Hank Crawford and tenor saxophonist Eric Alexander, expanding the ensemble's textural range while maintaining blues-based grooves. Throughout his career, McGriff favored the Hammond B-3 paired with Leslie speakers for their rotating modulation and dramatic effect, avoiding over-electrification in favor of the instrument's classic warmth until his brief XB-3 phase; he customized the latter for modern applications but emphasized its blues-gospel heritage. These preferences underscored his contributions to soul-jazz's popularity, with R&B chart successes like "The Worm" (Top 30, 1969) demonstrating how his playing fused with and to broaden the genre's appeal.

Discography

As leader

Jimmy McGriff led numerous recording sessions over his career, resulting in over 30 original studio and live albums that highlighted his distinctive Hammond B-3 organ sound and evolving stylistic range. These works, primarily issued on independent labels, captured his leadership in small combo settings, emphasizing -infused grooves and rhythmic drive. In the , McGriff's initial output as a leader centered on trio configurations blending and elements, often drawing from soulful R&B influences to create accessible yet sophisticated organ-driven sets. His debut, I've Got a Woman (1962, ), featured interpretations of material alongside originals, establishing his gritty, emotive style with guitarist Lonnie Youngblood and drummer Earl Young. This was followed by At the Organ (1963, ), a showcase of his fluid phrasing and bluesy phrasing in a compact trio format. By Blues for Mister Jimmy (1965, ), the focus sharpened on raw expressions, with McGriff's trio delivering extended improvisations rooted in gospel-tinged soul-. Notable live recordings from this era, such as club sessions capturing his energetic trio interplay, further documented his rising club circuit presence, though formal releases like these remained studio-oriented. The 1970s and 1980s marked a shift toward -soul integrations, where McGriff expanded his ensembles to incorporate electric rhythms and horn sections, reflecting broader soul-jazz trends while maintaining his blues core. Stump Juice (1975, ) exemplified this evolution with its punchy, groove-heavy tracks featuring and wah-wah effects for a more contemporary edge. Red Beans (1976, Groove Merchant) delved deeper into funky vamps and orchestral backdrops, conducted by Brad Baker, blending McGriff's organ swells with rhythmic percolations. Outside Looking In (1978, Galaxy Records) sustained this soulful momentum, emphasizing introspective ballads alongside upbeat numbers in a setting. Later, Steppin' Up (1987, Milestone Records), co-led with Hank Crawford, returned to a bluesier funk hybrid with guest horns, signaling a bridge to his mature phase. McGriff's 1990s and 2000s albums returned to a purer emphasis, prioritizing ensemble interplay and acoustic organ tones in larger groups, often evoking his early influences while incorporating modern . Red Carpet (1992, Milestone Records) featured a with saxophonist Eric Alexander, delivering swinging standards and originals in a vein. The Dream Team (1997, Milestone Records) assembled an all-star lineup including trumpeter John Swana and guitarist for sophisticated, harmony-rich explorations of blues- territory. McGriff's House Party (2000, Milestone Records) brought a celebratory tone with dual organs alongside Lonnie Smith, mixing house-party vibes with intricate trio-quartet dynamics. His final studio effort, McGriff Avenue (2002, Milestone Records), underscored a late-career focus through vibrant arrangements, capping decades of leadership with renewed vitality.

Compilations

Jimmy McGriff's compilation albums serve as key retrospectives of his career, reissuing tracks from his original recordings to highlight his evolution in soul-jazz and organ styles across decades. The earliest notable compilation is A Toast to Jimmy McGriff's Greatest Hits (1965, ), which aggregates his breakthrough 1960s singles from the Sue label, including "All About My Girl," "M.G. Blues," and "Kiko," capturing the raw energy of his early trio work. Reissues from the and periods focus on his Groove Merchant era, with Pullin' Out The Stops! The Best of Jimmy McGriff (1994, Milestone; reissued 1997, ) compiling funky, groove-oriented tracks like "The Worm" and " Now" from albums such as Electric Funk and Groove Grease, emphasizing his transition to more electric and soul-infused sounds. Posthumous releases include tributes and rare selections, such as reissues of classic material. McGriff's discography encompasses over 10 major compilations, including label-specific retrospectives from and Solid State in the , which feature digital remasters of his classic Solid State recordings from the , such as tracks from The Big Band and A Bag Full of , enhancing accessibility through improved audio quality. Thematic sets like The Best of the Sue Years 1962-1965 (2006, Collectables) spotlight his soul-jazz hits, drawing from his most popular periods to showcase signature tracks such as "I've Got a " and "Discotheque U.S.A."

Charting singles

Jimmy McGriff achieved commercial success primarily through his early 1960s singles on the label, which blended soul-jazz organ grooves with R&B appeal, marking a breakthrough for the Hammond B-3 in crossover hits. His debut single, "I've Got a Woman (Part 1)" (1962), a rearrangement of ' 1954 hit, peaked at number 20 on the and number 5 on the R&B chart, introducing McGriff's gritty, blues-inflected organ style to a broad audience. Follow-up releases sustained this momentum, with "All About My Girl" (1963) reaching number 50 on the Hot 100 and number 12 on the R&B chart; the track, featured on his album At the Organ, highlighted McGriff's trio dynamic and shuffling rhythm that resonated in jukeboxes and radio play. Other notable charting singles from the era included "Kiko" (1964), which climbed to number 79 on the Hot 100 and number 19 on the R&B chart, and "M.G. Blues" (1963), bubbling under at number 95 on the Hot 100. These tracks exemplified the soul-jazz crossover that defined McGriff's peak R&B popularity, drawing from roots and urban to appeal beyond circles. McGriff's chart presence extended into the late with "The Worm" (1968) on Solid State Records, peaking at number 97 on the Hot 100 and number 28 on the R&B chart; this funky, extended-groove instrumental from the album of the same name reflected his shift toward more experimental soul-jazz but marked the end of significant single success. Overall, McGriff notched five entries, all concentrated in the , underscoring his early commercial peak before a focus on album-oriented releases diminished single charting in later decades.
SingleYearLabelHot 100 PeakR&B Peak
"I've Got a Woman (Part 1)"1962Sue205
"All About My Girl"1963Sue5012
"M.G. Blues"1963Sue95—
"Kiko"1964Sue7919
"The Worm"1968Solid State9728
Some of these singles later appeared on 1990s compilations, such as The Best of the Sue Years 1962-1965 (2006), but did not generate new chart activity.

References

  1. https://jazztimes.com/archives/jimmy-mcgriff-hammond-b-3-organ-virtuoso-dies-at-72/
  2. https://www.nytimes.com/2008/05/28/arts/music/28mcgriff.html
  3. https://www.allaboutjazz.com/musicians/jimmy-mcgriff/
  4. https://www.bluenote.com/artist/jimmy-mcgriff/
  5. https://www.theguardian.com/music/2008/jun/04/jazz
  6. https://www.newsweek.com/music-remembering-jazz-organist-jimmy-mcgriff-89753
  7. https://www.bsnpubs.com/nyc/sue/suestory.html
  8. https://www.dougpayne.com/jm_bio.htm
  9. https://www.allmusic.com/album/outside-lookin-in-mw0000907494
  10. https://www.jazzmessengers.com/en/63067/buddy-rich/the-last-blues-album-vol-1
  11. https://www.allaboutjazz.com/musicians/jimmy-mcgriff
  12. https://jazzforasaturdaynight.com/2013/01/12/jazz-for-a-saturday-night-64-hank-crawford-jimmy-mcgriff/
  13. https://www.allaboutjazz.com/the-dream-team-jimmy-mcgriff-fantasy-jazz-review-by-douglas-payne
  14. http://www.jazzlists.com/SJ_Jimmy_Mcgriff.htm
  15. https://www.discogs.com/release/15209658-Jimmy-McGriff-McGriffs-House-Party
  16. https://jazztimes.com/archives/jimmy-mcgriff-mcgriffs-house-party/
  17. https://www.allmusic.com/album/feelin-it-mw0000005229
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  19. https://www.inquirer.com/philly/obituaries/20080528_Jazzman_Jimmy_McGriff__72__soulful_master_of_the_organ.html
  20. https://www.latimes.com/archives/la-xpm-2008-may-27-me-mcgriff27-story.html
  21. https://www.popmatters.com/organ-summit-040310-2496082274.html
  22. https://www.allaboutjazz.com/news/jimmy-mcgriff-dr-lonnie-smith-rhoda-scott-and-joey-defrancesco-convene-for-organ-summit-november-29-and-december-1/
  23. https://artists.hammondorganco.com/hall-of-fame
  24. https://www.wrti.org/wrti-spotlight/2015-02-26/they-made-philly-the-jazz-organ-capital
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  26. https://core.ac.uk/download/pdf/212692552.pdf
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  28. https://www.allaboutjazz.com/all-about-jazz-organ-inside-the-hammond-b3-jimmy-smith
  29. https://www.jzlinst.org/press
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  33. http://theatreorgans.com/grounds/groove/mcgriff.html
  34. https://www.discogs.com/master/498848-Jimmy-McGriff-At-The-Organ
  35. https://www.discogs.com/artist/29962-Jimmy-McGriff?type=Releases&subtype=Albums&filter_anv=0
  36. https://www.discogs.com/master/458151-Jimmy-McGriff-Red-Beans
  37. http://www.jazzdiscography.com/Labels/milestone.htm
  38. https://www.allmusic.com/artist/jimmy-mcgriff-mn0000076658/discography
  39. https://www.allmusic.com/album/the-dream-team-mw0000022588
  40. https://www.allmusic.com/album/mcgriffs-house-party-mw0000065671
  41. https://www.allmusic.com/album/mcgriff-avenue-mw0000227722
  42. https://www.discogs.com/master/380485-Jimmy-McGriff-A-Toast-To-Jimmy-McGriffs-Greatest-Hits
  43. https://www.bsnpubs.com/nyc/sue/sue.html
  44. https://www.dougpayne.com/jmdcomp.htm
  45. https://www.allmusic.com/album/release/the-best-of-hank-crawford-and-jimmy-mcgriff-mr0000296312
  46. https://www.amazon.com/Best-Sue-Years-1962-1965/dp/B000EZ8SBE
  47. https://www.billboard.com/artist/jimmy-mcgriff/
  48. https://www.youtube.com/watch?v=Pk3c1r6sR5w
  49. https://app.soulyears.com/artist-Jimmy%2BMcGriff.htm
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