"Papa" John DeFrancesco Is Himself a Big Shot

Fans of organ jazz certain have a delightful new release from "Papa" John DeFrancesco, Big Shot on Savant. Father of Joey DeFrancesco, the renown organist, Papa John himself has been a celebrated organist of the years. Joey is present, playing piano and other keyboards in a supportive role, while another son,John Jr., handles guitar. The rest of the band is comprised by Jerry Weldon’s tenor sax, Mike Boone’s bass and Bryon Landham’s drums.

They deliver a program of blues drenched numbers starting with a walking tempo rendition of Red Top, a classic since Gene Ammons made it his own with slower tempo here making for a relaxed groove as Weldon states the theme followed by John Jr.’s solid single note playing and a tasty solo on the Diversi organ that Papa John plays that captures the sound of the Hammond with perhaps a fuller tone in the foot-pedal bass.

From Gene Ammons to the Doors as Joey’s keyboards sets the dreamy atmosphere for Riders in the Storm, with Papa John taking the first solo after Weldon states the theme and then the saxophonist takes a vigorous solo. Next up is a solid ballad performance, Too Young to Go Steady, with Joey’s piano setting the mood followed by some lovely tenor sax and Papa John’s moody organ offset by Joey’s piano and some nice brush work from Landham.

Nolo, picks up the tempo with his funky groove and John Jr is prominent with some fine playing as Weldon riffs behind him with Papa John suggesting Jimmy Smith’s mojo here. The title track is a solid walking blues, while Maricopa, has a light Latin groove with Weldon, Papa John, John Jr., and Joey all prominent here. Down Home, is a moody late night blues while the disc closes with the funk of What, with Joey coming off like Billy Preston while Weldon shows his funk sax groove while John Jr. is a it more electric in his playing that perhaps come off least interesting track here.

The fact that the music here may not stretch boundaries and makes for comfortable listening should not be viewed as a criticism but the recognition of the strengths of Big Shot which is characteristic of what makes the best organ jazz, soul-blues grooves with tenor sax and other musicians who are fine storytellers. Recommended.

This review originally appeared in the January 2010 Jazz & Blues Report (Issue 323). I received my review copy from the publication. Here is "Papa" John performing a Jimmy Smith classic.

Dan Adler's Organ Trio Shines On "Back to the Bridge"

Israeli born guitarist Dan Adler has established himself on the New York scene where he has played and studied with saxophonists Steve Grossman and Bob Berg as well as such guitarists as Jack Wilkins, Pul Bollenback, Peter Bernstein and Rodeny Jones. His second recording, Back to The Bridge (Emdan Music) is an organ trio session with Joey DeFrancesco handling the keyboards, and DeFrancisco’s regular drummer Bryon Landham on drums. The result is a terrific, swinging recording that showcases Adler’s solid guitar playing backed by perhaps today’s most impressive organist.

The opening Adler original, Gold and Silver, is dedicated to the great Horace Silver, and a brisk number that quickly displays Adler’s tone along with his fleet, precise and imaginative delivery followed by DeFrancesco taking over. Joe Bushkin’s Oh, Look At Me Now, a swing era hit associated with frank Sinatra, introduced by some unaccompanied guitar before DeFrancesco and then Landham join in behind Adler’s nicely articulated and developed solo. An unexpected pleasure is the organ trio rendition of Clifford Brown’s Joy Spring, with its alternating rhythms at the beginning before the trio gets off on a hot groove. The title track is an Adler original, and is, in his words, an attempt to mix a non-bebop head to some bebop solos and in any event a delightful musical trip.

It is suggested that Adler’s jazz waltz, Good Old Days, harkens back to the relaxed feel of the Larry Young, Grant Green and Elvin Jones organ trio, and DeFrancesco’s funky playing precedes strong soloing from Adler. In his liner notes, Scott Yanow observes how Landham sets a tone with a New Orleans march groove, before Adler and DeFrancesco set a medium tempo swing groove. Adler plays homage to his homeland with a languid performance of the Israeli ballad, Yatsanu At (We Left Slowly), which spends a doleful mood. The calypso rhythm of Between Jobs, helps lighten the spirits, while I’ve Never Been In Love Before, is taken at a quicker tempo than usual with a especially adept and intriguing solo by Adler. This splendid session ends with Oscar Peterson’s blues, The Smudge, that ends this recording with more wonderful playing.

I have not heard Adler’s prior recording, but Back To The Bridge, is a superb, straight-ahead organ trio marked by imaginative material and excellent playing from all involved that has worn well over repeated listening. Dan Adler’s website is http://danadler.com.

My review copy was provided by a publicist.