[4] Carr has also noted the influence of Ray Charles' small group recordings (which included saxophonists David "Fathead" Newman and Hank Crawford) on Horace Silver, Art Blakey, Cannonball Adderley.

[4] In his view, David Sanborn and Maceo Parker are in a line of alto saxophonists that includes Earl Bostic, Tab Smith, Adderley, and Lou Donaldson as the strongest links in the chain of the genre's evolution.

[4] In the early to mid-1950s, after he left the Count Basie Orchestra, saxophonist Eddie "Lockjaw" Davis was among the first to form a jazz group with both organ and saxophone, first with Bill Doggett and later Shirley Scott.

[7] For this and his "full bodied yet reedy tone that was equally at home in rhythm & blues settings as more modern contexts," he "provided a link" between big band swing and soul jazz.

[8] Soul jazz continued to develop in the late 1950s, reaching public awareness with the release of The Cannonball Adderley Quintet in San Francisco.

[12] Jimmy Smith's shift into soul jazz demonstrated the organ's potential within the genre with his albums Home Cookin' (1961) and Back at the Chicken Shack (1963).

Other organists who recorded in the soul jazz genre during this period include Jack McDuff, Shirley Scott, and Charles Earland.

[5] An accelerating factor in soul jazz's development was the Black Power movement, which led African-American musicians to return to the African roots of their music.

"[17] Turrentine's following album, A Chip Off the Old Block (1963), marked the first shift in influence, in this case from the swing/big band era with compositions by Count Basie and Neal Hefti.

"[25] Tenor saxophonist Hank Mobley took even longer to make the shift, playing primarily within the hard bop genre until 1968, when he recorded Reach Out!

Organist Jack McDuff, for example, was known for his particularly bluesy style, which enabled him to collaborate with young jazz talents including saxophonist Johnny Griffin and guitarist George Benson.

Les McCann and Eddie Harris's album Swiss Movement (1969) was a hit record, as was the accompanying single "Compared to What", with both selling millions of units.

[34] His experiments in "funk-influenced fusion, outside improvisations, bizarre electronic effects, new crossbreedings of traditional instruments, blues crooning, and even comedy," according to Steve Huey, "fell outside the bounds of what critics considered legitimate, serious jazz."