Tico Tico - Greatest Hits

Seasoned collectors of obscure 10" records instantly recognize this album cover; dolled up in her tight bodice, Hammond organist Ethel Smith has been grabbing at the keyboard and baring her teeth in used record stores for decades. More interesting than the soporific Ken Griffin, she usually materializes in a playful, zany aspect that wins her a deluxe musicological rubber room next door to the one occupied by nutty organist Lenny Dee. Living Era's Tico Tico presents a series of 28 zippy recordings made by Pittsburgh-born Ethel Smith between June 13, 1944 and June 18, 1952. Performing solo at times but mostly backed by Victor Young's Orchestra or her Bando Carioca, Smith is also heard accompanying Bing Crosby or sitting in with the Lombardo brothers. Her Latin American arrangements have a bizarre charm all their own; her handling of "Poinciana" and Pérez Prado's "Mambo Jambo" make one wish that she'd sat in with Machito & His Afro-Cuban Salseros. She did perform in Argentina for a while in 1940; this explains the air of authenticity that pervades some of her south of the border material. Note that "Monkey on a String" bears no resemblance whatsoever to a similarly titled tune by Charlie Poole & the North Carolina Ramblers. There's not an ounce of weltschmerz here; it's all good clean fun. The only serious breach of ethical conduct occurs in the liner notes written by Peter Dempsey, who makes the colossally preposterous statement that Ethel Smith was "hailed internationally as the first non-classical organist (the first, that is, if we discount the world distribution on records of Jesse Crawford, Lew White and a few others before her)..." Apparently, Fats Waller, Count Basie, Glenn Hardman and Milt Herth didn't deserve to be mentioned at all! Waller, of course, was the first jazz organist; his pipe organ recording of the "St. Louis Blues" was made in 1926, when Smith was a schoolgirl of 16. Waller also popularized the Hammond Organ, often driving around with it sticking out from the rumble seat of his car during the late '30s, when Ethel Smith was playing the instrument in film studios and in Hollywood music stores. Using some vintage Xavier Cugat as an aperitif, unbiased listeners are advised to enjoy both Ethel Smith's stylish pop organ and the authentic jazz organ recordings of Fats Waller. Both artists excelled at the Hammond organ, and these cheerful recordings provide background for everything that's since been played on that instrument.