McGriff Swings Through the Movies
The orchestra sounds like Muzak, but McGriff sounds like McGriff—a strange, charming collision.
Jimmy McGriff was already an established organist by 1964, known for his funky, soulful approach to the instrument. Topkapi sits oddly in his catalog—not a jazz date in the traditional sense, but a soundtrack album where McGriff plays organ over orchestral arrangements of themes from the film and television. It's an unusual detour, the kind of project that could easily disappear into the vaults, yet it captures something genuine about McGriff's gift: his ability to sound like himself no matter what surrounds him.
The album pairs McGriff's grooving, bluesy organ lines with lush string sections and movie-score orchestrations that feel dated now, almost kitschy in their sweep. There's a fundamental mismatch—the orchestra aims for sophistication and cinematic grandeur, while McGriff is thinking in terms of pocket and swing. Rather than clash, they coexist. His playing cuts through the arrangements with warmth and personality, refusing to be absorbed into the Muzak aesthetic. He's not trying to prove anything, just playing good organ over what amounts to dinner-theater material.
This isn't a landmark recording in McGriff's discography—his Blue Note sessions and funkier Sue Records work define his period better—but it's a reminder that he was a pro who could make any setting work. If you're already deep into McGriff, it's a curious artifact. For newcomers, start with his straight jazz work instead.
Who's playing
Jimmy McGrifforgan
