"Mr. Hendrickson-Smith boasts a relaxed, warm melodic bent and an
engaging sound; he's a real swinger, and he's steeped in the
blues…..an old soul who's got something to say that people
ought to hear."
-Zan Stewart, Jazziz Magazine
"He remains an unquestionable
master of the genre; at a mere thirty one years of age, Hendrickson-Smith,
who doubles on flute, is the possesor of a world-weary tone
that many players his senior would kill for."
-Peter Aaron, Allaboutjazz
"Hendrickson-Smith's straight-ahead session captures the essence of a century of
great music...an album that brings out the best in straight-ahead
jazz for the 21st century."
-Cadence Magazine
"It's marvelous to hear alto saxophone playing like that."
-George Coleman
"Recorded in concert at the Fat Cat, NYC, "BITB" takes the golden era of Blue Note Hard Bop, squeezes it through a puree, and presents the pulpy essence of foot tapping jazz. Combining the grit of the Jazz Messengers and the clever arrangements of Horace Silver's classic quintet, Hendrickson-Smith takes his trumpet/tenor front line through a set of mostly originals that are catchy, free wheeling and above all, begging the listener to get up and move it!"
"Hendrickson-Smith's tenor, with a tone and wail recalling Stanley Turrentine, mixes a gospel bluesy gruff with Dave Guy's bright and robust trumpet on catchy originals like "Big Weeds" and the breathtaking "Jacob's New Crib". His solo on the ballad "Hey, Baby" is delicious and fatty. The 60s classic "Hello Stranger" is a perfect vehicle for this riff loving band, with Floody's drums and Mann's percussion laying down an infectious groove. But the real hero of this gig is pianist Rick Germanson, who treats the piano as if he were in a Revival meeting, pounding out percussive rhythms that raise the roof. His finger numbing work on "Chatterbox" and ride-cymbal like tapping on "Jacob's New Crib" recall Bobby Timmons at his peak. This guy could put soul into a Kenny G disc! If you've worn out your Blakey and Silver releases, you're in for an oasis with this band."
-George Morris, All About Jazz
"On Blues in the Basement, Hendrickson-Smith is even more commanding as a leader. He possesses a vivacity that probably comes from having performed with the Queen of Funk Sharon Jones and the Dap-Kings, led by Bosco Mann, who plays the tambourine and congas on this record.
“Jacob’s New Crib” features Mann’s steady hand on the tambourine, offset by Hendrickson-Smith’s overconfident (but rightly so!) playing. The tenor saxist goes forward relentlessly, his unshakable energy spreading to the other band members like a virus. On side B of the CD, the sextet dials down the energy and pumps up the sensuality. In “Chatterbox”, pianist Rick Germanson shows off his chops as he plays a sprawling melody that nearly envelops the song. Meanwhile, trumpeter Dave Guy pours romantic vulnerability into “Hey Baby” and acoustic bassist Neal Miner does the same in the title track.
The album, which was recorded live at NYC’s Fat Cat, embodies the simplicity, the sweatiness, the honesty of soulful funk jazz. Whereas Presenting remains true to the rhythm and blues of the ‘60s and ‘70s, Blues in the Basement adds a fresh, youthful energy to the music. In spite of this divergence between new and old, one thing is for sure: this record makes it difficult to resist the urge to dance.
"
-Ivana Ng All, About Jazz July 8 2007
"Blues in the Basement, from Ian Hendrickson-Smith, is a true rendering of jazz at its finest. This New Orleans native works his tenor saxophone like no other and he discharges such lively chords from the instrument, as well as grueling blows that will make listeners wonder what he was thinking when he composed each track.
The first song will make you want to shake your tush from the very first note. Hendrickson-Smith utilizes his sax proficiency and he is aided by percussion and piano work. The tune’s juice is contagious and you won’t be able to curb the urge to get up and dance, either alone or with the nearest able body.
The second song has Hendrickson-Smith belting out singular notes on his sax, without any other musical accessory. Then, percussion, drums and piano seep in for a dynamic melody. Hendrickson-Smith varies the level of notes he plays, which go from upbeat to lusty. This track has mixed feelings allocated to it and can be applied to many incidents for a diehard jazz fan.
The third song has deep piano chords in the intro followed by glimmering sax play from Hendrickson-Smith, along with piano work. Hendrickson-Smith can suspend high-pitched notes at times, which will definitely get your attention on this track. It’s just the song one would hear, as they sashay into their local jazz club in search of good music and a night of exceptional jazz.
The fourth song could be a song played in a black and white film noir movie about a detective and a mysterious damsel in distress. Hendrickson-Smith plays the tenor sax until the instrument might weep from sheer emotion. The piano gives a minor lightness to the track, but each sad note Hendrickson-Smith puffs will hit you right in the heart, until your eyes are strained with tears and your ears and strained with pain.
Ian Hendrickson-Smith’s Blues in the Basement is one any jazz album enthusiast should not be without. It has bubbly tracks as well as ones that will tug at your deepest, most heartfelt passions. It is a perfect soundtrack for a couple who has had their romantic ups and downs and want to set them to a jazzy refrain.
"
-Sari N. Kent, Celebrity Cafe Feb 23 2007
"Tenor saxophonist Ian Hendrickson-Smith also draws his inspiration from sounds from the 1960 s. In his case the Soul Jazz of the likes of Eddie Harris. He has a firm grasp on the vocabulary of the style and relishes stabbing with shards of funk, all subtlety sacrificed in the name of unrelenting drive. The steady thwack of the tambouring helps set the tone. Dave Guy proves to be an enthusiastic accomplice delivering dramtic trumpet blasts. Bassist Neal Miner and drummer Brian Floody keep this sould food pot simmering nicely. Pianist Rick Germanson is an able pianist, and on his rousing two fisted solo on Hello Stranger delivers the best solo of the date, at once tru to the style, but not hemmed in by it. this kind of musical substance is mostly lacking elsewhere on this fun-loving, lightweight date."
-David Dupont, Cadence Magazine June 2007
Review links:
allaboutjazz - Ian Hendrickson-Smith: Presenting & Blues in the Basement
allaboutjazz - Ian Hendrickson-Smith: Still Smokin'
allaboutjazz - CDs We Almost Missed in 2004
jazztimes - Jazz Times December 2004
jazztimes - JazzTimes Critics' Picks 2003
Village Voice - Village Voice Tom Hull Pick