The Doctor is back doing his funky jazz thing... this time with his touring trio of Jonathan Kreisberg and Jamire Williams. This band is tight and playing standard jazz tunes in a not so standard way. They'll be out touring in support of this release, so do yourself a favor and get out to see the master at work. Dr. Lonnie Smith is internationally known as one of the premier jazz keyboardists in the history of the idiom. A dominant talent and pace-setting proponent of the Hammond B3 Organ, Dr. Lonnie Smith has been at the forefront of the jazz scene since 1969 when he was first named Top Organist by Downbeat Magazine.

Dr. Lonnie Smith will release his first Blue Note album in 45 years, Evolution, on Jan. 29. The Hammond B-3 organist previously recorded for the label in the late 1960s, first as a sideman with saxophonist Lou Donaldson on albums including Alligator Bogaloo and then as a leader with his own albums Think! and Turning Point. Special guests on Evolution include pianist Robert Glasper and saxophonist Joe Lovano, who made his own recorded debut as a sideman on Smith’s 1975 album Afrodesia. Smith will perform with his Evolution band at the 2016 NYC Winter Jazzfest in January, and additional tour dates and album details will be announced shortly, according to Blue Note.

David Sanborn is the second album by saxophonist David Sanborn.

Taking Off is a studio album by David Sanborn, released in 1975 through the record label Warner Bros. The album reached number 19 on Billboard's Jazz Albums chart.

Close-Up is very much a collaboration between altoist David Sanborn and Marcus Miller, who serves as producer, bassist and frequently the lead keyboardist. With the exception of Randy Newman's "Same Girl" and "You Are Everything," all of the music was written or co-composed by Sanborn and Miller. Some selections utilize such additional players as guitarist Hiram Bullock, keyboardist Ricky Peterson and drummer Vinnie Colaiuta. In general, the music fits the formula well, offering Sanborn's emotional sax backed by then-modern electronics and funky rhythms, all of it designed for maximum radio airplay. Sanborn's recording is worthier than most of the output by his many imitators, but one senses that even he knew he could do much better.