There isn't much to say about Jimmy McGriff's playing style, or how funky many of his albums were..
Jimmy McGriff's childhood friend, organist Jimmy Smith, had begun earning a substantial reputation in jazz for his Blue Note records (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 became McGriff's teacher,
McGriff bought his first Hammond B-3 organ in 1956, spent six months learning the instrument, then studied at New York's Juilliard School of Music. He also studied privately with Milt Buckner, & Jimmy Smith,
McGriff formed a combo that played around Philadelphia and often featured tenor sax player, 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.
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. 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. The album also turned out another huge hit in McGriff's "All About My Girl", 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), a series of "Organ and Blues Band" records (such as A Thing to Come By (1969), pop hits ("Cherry", "The Way You Look Tonight") and funk classics (Electric Funk and singles such as "The Worm" and "Step 1").
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 recordedBlack Pearl and a live album 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).
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 late 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. He produced some of his best music during this period: Stump Juice (1975), Red Beans (1976) and Outside Looking In (1978).
these years of his catalog is where my posting of Jimmy McGriff's work starts..Jimmy's Funky Years. the late 60's through the late 70's