2b3 2b3 Jimi

2b3
2b3 Jimi
Self-produced

2b3 is an organ trio that have devoted this project to the music of Jimi Hendrix. 2b3 consists of electric guitarist Mike Abbott, B-3 organist and synthesizer player Jeff Jenkins, and drummer Mike Marlier. All three have long careers as performers, educators, and more.

Abbott has performed or recorded with Randy Brecker, Maria Schneider, Jeff Hamilton, John Clayton, Sammy Davis Jr., Burt Bacharach, Joey Calderazzo, Marc Copland, and others. Abbott is the author of "The Guitar and Amp Sourcebook," and currently teaches at the University of Denver, Colorado Conservatory for The Jazz Arts, and privately in Denver.

Drummer Marlier has performed and recorded with countless artists and musicians, including Dave Grusin, Nelson Rangell, Benny Golson, Bobby Shew, Rob Mullins, the Neophonic Jazz Orchestra, Lee Ritenour, and Stanley Jordan. He is director of drum set studies at Lamont School of Music of Denver University.

Jenkins, as a jazz pianist, has worked with many jazz legends. These include Phil Woods, Freddie Hubbard, David Fathead Newman, Marlena Shaw, Eddie Harris, Richie Cole, Dakota Staton, Bobby Hutcherson, Curtis Fuller, Benny Golson, John Abercrombie, and Clark Terry. He was resident in New York in the eighties, where he studied with Richie Beirach, Kenny Barron, and Fred Hersch. He currently is teaching at the University of Colorado at Boulder, and for the Colorado Conservatory for the Jazz Arts.

This recording is fascinating, with some performances closer to Hendrix's recordings than others. While the trio might reference at times the melody of "Manic Depression," the energetic and exciting instrumental solos are pretty free-flowing in a jam band vein. This also holds on the rendition of "Purple Haze" that opens this album and the driving version of "Fire." In contrast, the foundation for the atmospheric interpretation of "Little Wing" hews somewhat close to Hendrix's original recording, although there is no attempt to imitate Hendrix's sound. "Foxy Lady" (misspelled Foxey on the album) is almost transformed into an organ trio shuffle with Jeff Jenkins providing color for Abbott's searing guitar solo before laying down his own choice soulful organ solo before Marlier takes the spotlight. There are two tracks I believe are not associated with Hendrix as a performer. "Etched in Stone," by Jeff Jenkins is a gospel-laced blues that evokes "A Change Is Gonna Come," while "Jimi" by Mike Abbott is a dreamy composition with Jenkins setting the atmosphere for Abbott's nuanced solo.

Jimi Hendrix's music has long attracted interpretations from jazz artists going back to Gil Evans Big band. 2b3 have added to this body of jazz interpretations of Hendrix with an intriguing and appealing recording.

I received my review copy from a publicist. Here 2b3 perform Hendrix's "Manic Depression."

Soul Message Band Live at the Blue LLama

 

Soul Message Band
Live at the Blue LLama
Live at Blue LLama Records

The Blue LLama Jazz Club, located in Ann Arbor, Michigan, launches a new record label, Live at Blue LLama Records. The label will feature live recordings from past performances at the club and studio releases from artists who are frequent performers. The label's initial release is from the superb Chicago jazz organ trio, Soul Message Band. Soul Message Band consists of Hammond B3 organist Chris Foreman, drummer Greg Rockingham, and guitarist Lee Rothenberg. This recording is the group's first live album and features a program in the vein of Jimmy Smith and Richard 'Groove' Holmes.

Foreman and Rockingham have been playing together for a substantial period. With guitarist Bobby Bloom, they constituted the Deep Blue Organ Trio. The two and guitarist Henry Johnson backed the late saxophonist Red Holloway on a 2009 Delmark album. For Delmark, the Soul Message Band, including alto saxophonist Greg Ward, produced the spectacular 2019 recording, "Soulful Days." While Ward is absent on this road recording, this trio is more than capable of making cooking organ jazz.

It is a pretty straightforward set of music opening with Grant Green's "Matador." Foreman opens it with some greasy, bluesy notes before the trio kicks things up a notch and plays tribute to Green in their heated performance with Rothenberg laying down the melody, then a scintillating solo with Foreman laying down his backing while Rockingham swings hard. After the sterling guitar solo, Foreman takes things further and displaying why he is among the greatest living B-3 players. A smoldering, greasy chicken-fried rendition of Jimmy Smith's "Midnight Special" follows as Foreman again pulls out all the stops on this classic organ jazz blues.

An extended interpretation of Louis Bellson's "Easy Time" is followed by an early in the morning groove of Slide Hampton's "Frame For The Blues." A driving rendition of Stanley Turrentine's "Minor Chant" showcases more dazzling playing from Rothenberg and Foreman as well as superb ensemble work. It is a first-rate close to an outstanding recording that is a must-listen for organ jazz lovers.

I received a download to review from a publicist. Here is a video of the Soul Message Band in performance at Andy's Jazz Club in Chicago.

The Moore-McColl Jazz Society Electric Fantastic

The Moore-McColl Jazz Society
Electric Fantastic
Self-produced

Beth Moore (vocals, keyboards) and Chance McColl (guitar and vocals) lead a spirited journey towards where the blues and jazz worlds intersect. They suggest one think about “[w]hat if Groove Holmes had duetted with Boogaloo Joe Jones with drums, upright bass and a 3-part horn section.” These Atlanta performers spin a memorable album of primarily organ-guitar jazz.

The title track gets this album off on a toe-tapping mood within unison organ-guitar lines met by riffing horns. Moore certainly shows off her greasy sound with choruses of alto sax and fiery trumpet before McColl’s bluesy solo. McColl’s “800 East” is a nicely paced blues with sterling solos from most of the and members. The Latin groove of “Beth’s Bounce” provides a refreshing change of atmosphere.

In addition to being a noteworthy organist and pianist, Moore’s relaxed vocal delivery gives her vocals appeal, such as heard on pop-soul of “Like A Symphony,” with its brassy horn riffs. Also of note is her lovely singing on the band’s imaginative performance of Supertramp’s “The Logical Song.” McColl’s “If You Really Loved Me,” is straightforward blues with his honest, direct vocal. Moore’s organ solo provides the appropriate feel followed by bluesy muted trumpet and alto sax. McColl’s guitar solo is a model of taste, tone, and expression.

Pedal steel guitarist Ben Holst guests on “I Remember Danny Gattoon.” It is an atmospheric tribute that sets a mood as opposed to presenting the guitar wizardry Gatton for which he is remembered. It is one example illustrating how well The Moore-McColl Jazz Society set a mood and how well they play throughout this very captivating recording.

I received my review copy from a publicist. Here is a video for the title track.

 

Purdie Fabian Oswanski Move On!

Purdie Fabian Oswanski
Move On!
CAP Records

Purdie Fabian Oswanski is an unusual Hammond B-3 trio comprising Ron Oswanski on the Hammond B-3, Christian Fabian on the electric bass, and Bernard ‘Pretty’ Purdie on the drums. It is the bassist Fabian’s presence instead of a guitarist or saxophonist that makes this an unusual recording. Fabian also solos throughout as if a guitarist.

It is an entertaining, if flawed, recording, strongly rooted in soul and funk grooves. Fabian composed 5 of the nine tunes. Fabian's “The Red Plaza,” gets this set off to a rousing start with Oswanski’s orchestral organ and his funky bass lines, “84-85” is a funk track that doesn’t seem to go beyond the underlying bass vamp. Purdie keeps a steady groove throughout, such as on the “Move On!” More interesting is the rendition of “Can’t You See (You’ve Done Me Wrong)” with his through guitar-like single-note improvisation, and Duke Ellington’s “Love You Madly” with his soulful solo. The organist is to the fore on “Battle Hymn of the Republic.” Closing this album is an appealing cover of “So What” that showcases Fabian’s improvisatory skills. Oswanski also solos on this.

Nothing earth-shattering here, but this is an intriguing album of some appeal.

I received my review copy from a publicist. Here the trio play "BPP Blues."
 

Lucky Peterson Tribute To Jimmy Smith

Lucky Peterson
Tribute To Jimmy Smith
Jazzbook Records

Lucky Peterson's passing left a significant hole for music lovers. I first met Lucky with his father, James Peterson, while I was in graduate school in Buffalo and did a blues program on WBFO. He was a prodigious talent then, and of course, he had a significant career working of Little Milton and Bobby Bland before setting forth on his own. Of course, he is best known as a bluesman, but he had considerable jazz chops, as displayed on this tribute to one of his main influences on the organ, the legendary Jimmy Smith.

On this date centered on Smith's music, Peterson is accompanied by guitarist Kelyn Crapp and drummer Herlin Riley. There are also guest appearances by Nicholas Fowler on trumpet, Archie Shepp on tenor sax and vocals, and Phillipe Petrucciani on guitar. Things start with strong renditions of a trio of tunes associated with Smith, Jimmy Forrest's "Night Train," Smith's "The Sermon," and Dizzy Gillespie's "The Champ." There is a collaboration with Archie Sheep, "Jimmy Wants to Groove," which is a musical mashup of various blues numbers. Shepp's booting tenor sax and singing meshes with Peterson's chicken fried playing. Riley maintains a relaxed shuffle groove here. Lucky's passionate singing on "Singing This Song 4 U," a reworking of Leon Russell's "A Song For You," follows. Crapp's nimble guitar backing is noteworthy on this track. With Riley laying down a light Caribbean groove, Crapp and Lucky sparkle on "Jimmy's Groove." The trio follows with an excellent rendition of "Misty," and Shepp's gutbucket tenor sax returns for a relaxed interpretation of "Back At the Chicken Shack."

Guitarist Petrucciani wrote and plays on "Blues For Wes," a tribute to the late guitar genius and the classic recordings Smith and Montgomery made. Montgomery's influence is evident in Petrucciani's fleet solo, followed by Peterson's mesmerizing B-3 solo. It is a superb close to an outstanding recording showcasing Peterson's command of the B-3 and his considerable jazz chops.

I purchased this. Here is Lucky Peterson performing a tribute to Jimmy Smith at a jazz festival.

Shannon Gunn Gunn's Ablazin'

Shannon Gunn
Gunn's Ablazin'
Jazz To The Bone Records

Trombonist-composer-bandleader Sharon Gunn is a prominent figure in the Washington DC area music scene. She leads the Firebird Organ Trio and the Sharon Gunn Quintet, both of whom are represented on this release, as well as Sharon Gunn and the Bullettes, Washington's all-women Jazz Orchestra. She has also played with the Bohemian Caverns Jazz Orchestra and served as a fill-in with the Diva! Jazz Orchestra. Drummer Kelton Norris is a member of the organ Trio and Quintet. Keyboardist Hope Udobi is the other member of the Organ Trio. The other members of the Quintet are Chris Barrick on vibes, Garrett Gleason on guitar, and Mikel Combs on drums. This present release includes compositions arising out of social issues and a few select interpretations of standards.

This is a fascinating recording with her compositions and her trombone.standing out. The opening "Orange Noise" is dedicated to all the lies on twitter and the accompaniment is appropriately agitated with Barrick providing another voice as Norris' free drum attack adds to the mood. Another composition that conveys an atmosphere of disgust with current events is "Babes in Cages is NOT OK." Barrick lays out a shimmering layer for the sonic explorations and explosions by Gleason and Gunn. With the trio, she has charming salutes to a friend, "Ellen," and the mother of another friend, "Ms. Cheverly." While her husky, gruff attack and soul might seem like not a perfect fit for a ballad, she invests plenty of passion into her performances.

"Cruash" is a peppy quintet number played with swagger followed by an original remake of the old standard, "Dinah." Taken at a relaxed and funky tempo, the performance of "Dinah" is considerably removed from the heated renditions by such artists as Louis Armstrong and Cousin Joe. The trio is heard in a cover of Erik Satie's "Gymnopedie #1," with a reflective tone in the performance. A lyrical trio arrangement of "Rainbow Connection" is the final track on a recording of original, intriguing material and imaginative, engaging performances.

I received a review copy from Kari Gaffney.  Here is Shannon and her Firebird Organ Trio performing "Caravan."

Troy Roberts Days Like These

Troy Roberts
Days Like These
Toy Robot Music

Tenor saxophonist Troy Roberts new recording has him playing with two masters with whom he played and recorded with. Roberts currently is a member of organist Joey DeFrancesco's group and appears on some of the organist's recent recordings. Before that he was a member of Jeff ‘Tain’ Watts Quartet for five years, appearing on three of Watts albums. Watts has appeared on two of Roberts' prior recordings. DeFrancesco plays on the first three of the eight songs here. Emmet Cohen plays organ on the remaining five tracks. Cohen and Roberts were in an organ trio together when Cohen was a student at the University of Miami’s Frost School Of Music and Roberts was on the faculty.

This is a wonderful collection of organ trio recordings starting with "“My Girl is Just Enough Woman For Me." With superlative backing, Roberts shows he can play tough and tenor with a big sound in the manner of Gene Ammons, Stanley Turrentine (who recorded this song several times) and Houston Person. This is a swinging number that also showcases their brilliance of DeFrancesco and Watts, both of whom solo. DeFrancesco sets the tone opening the torch song, "Why Was I Born," with Roberts displaying his exquisite ballad playing. Roberts' original "Trams" has appeared on a Grammy Nominated album by Orrin Evans & The Captain Black Big Band of which Roberts is a member. It is an intriguing composition with engaging, driving interplay among the trio, not to mention the unexpected twists and turns in the solos.

Another original, "The Waltz of Parting Days” is constructed around a brooding melody, with Roberts again playing with warmth and clarity as Cohen and Watts complement Roberts playing. Roberts' “Sly Old Dog” is a contrafact of Cole Porter’s “It’s Alright With Me." This is a raucous uptempo burner with Roberts' blistering tenor sax (evoking Johnny Griffin), along with Cohen's spirited organ, and Watts driving percussion. After the relaxed, jaunty "Jack the Sipper," Roberts delights us with the Wayne, Hoffman and Sigler tune “Little Man You’ve Had a Busy Day.” This performance again illustrates the warmth he brings to a standard as his velvety playing caresses the melody of this standard.

An uptempo original, “Wizard of Ozroop" enthralls with a gripping performance by Roberts with unexpected and imaginative twists and turns. Troy Roberts is an excellent saxophonist with a big sound who constructs thoughtful, imaginative and passionate solos. He receives superb backing throughout and his session mates provide their own engrossing solos. With the first-rate renditions of rarely performed songs and Roberts originals, listeners need more "Days Like These."

I received a download for review from a publicist. This review appeared in the November-December 2019 Jazz & Blues Report (Issue 3387). Here is Troy Roberts performing "Trams."

Dave Stryker Eight Track Christmas

Dave Stryker
Eight Track Christmas
Strikezone Records

Dave Stryker's Eight Track series of recordings has been straight-ahead jazz comfort food of a high level. Here, guitarist Stryker is joined by vibraphonist Stefon Harris, organist Jared Gold, and drummer McClenty Hunter. On one track of this 10-track CD of Christmas favorites, Steve Nelson replaces Harris on the closing track "O Tannenbaum.".

Like the previous albums, the performances are delightful renditions of familiar songs that are performed with spirit, humor, and imagination. Harris' at times shimmering vibes complements Strykers, fleet lean lines and solo note runs with Gold providing a greasy organ foundation and Hunter pushing the song along crisply. The performances are both melodic and inventive, and the interplay is marvelous. In addition to well-known carols such as "Greensleeves" and "We Three Kings," songs performed include Donny Hathaway's "This Christmas," to John Lennon's "Happy Xmas (The War Is Over)," and "Blue Christmas."

"This Christmas" opens this splendid recording with some dazzling playing followed by "Greensleeves," with Stryker's solo ingeniously working over the changes with Hunter's shimmering cymbals bring the tune to a close. An imaginative rendition of "God Rest Ye Merry Gentleman," is pushed along by Hunter's funk groove. The funk groove also is present on a vibrant "Soulful Frosty," Steve Nelson's mash-up of "Soulful Strut" with "Frosty the Snow Man." There is an alluring, reflective interpretation of Vince Guaraldi's "Christmas Time Is Here," with an enchanting vibes solo. "Sleigh Ride" is an exhilarating romp with Gold's dazzling organ followed by Stryker's scintillating fretwork. Elvis' "Blues Christmas" is given a well-played bluesy interpretation although the tempo drags a bit.

"Eight Track Christmas" is another wonderfully played chapter in Dave Stryker's series. Mixing in familiar material with his arrangements and his superb band, Dave Stryker has a holiday recording with several performances that will be enjoyed year-round.

I received my review copy from a publicist. Here is "O Tannenbaum."

Dave Stryker Eight Track III

Dave Stryker
Eight Track III
StrykeZone

This CD is the third edition of guitarist Dave Stryker's s reimagining of classic pop tunes from the ‘70s with his working trio plus vibes. Vibraphonist Stefon Harris, who told Stryker he needed to complete the trilogy, joins Stryker, organist Jared Gold, and drummer McClenty Hunter on these nine tracks, five of which also have congas and percussion from Mayra Casales. Harris was on the first of these recordings with Steve Nelson being on the second.

Stryker suggests playing these classic melodies is a great way to connect with people and bring more folks into the music. This may be easy to listen to, but that stems as much from this familiarity. Listening to the ensemble and ensemble on the marvelous rendering of Steely Dan's "Pretzel Logic," or the Temptations' hit "Papa Was a Rolling Stone," one gets melodious performances with fresh, imaginative solos. The groove is swinging at a nice measured pace.

Stevie Wonder's "Too High" opens with Stryker's sparkling guitar with a deft touch and thoughtfully constructed solo followed by Harris' effervescent vibes and then Gold's greasy B-3. Then there is The Carpenter's ballad, "We've Only Just Begun," with deliberate, spare playing by Stryker and Harris adding to the preciousness of this ballad performance that is beautifully played at a slow tempo. In contrast, the group plays Burt Bacharach's "This Guy's In Love With You," at a brisker tempo, with Gold superb here. Roy Ayres' "Everybody Loves the Sunshine" is a bright feature for Harris' vibes, while Stryker and company perform a strong, blues-infused rendition of Stevie Wonder's "Joy Inside My Tears," that builds with smoldering intensity leading to its conclusion.

The music here is as entertaining, engaging and substantial as the two earlier volumes and serves as a solid conclusion to the "Eight Track" series if this is indeed the final set of the series.

I received my review copy from a publicist. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384). Here is a recent video of them performing "Papa Was a Rolling Stone."

Mike Bogle Trio Dr. B!

Mike Bogle Trio
Dr. B!
Mbp / Groove!

The Dr. B in this CD's title refers to Mike Bogle having a Doctorate in Musical Arts. A music educator as well as a marvelous keyboard player (here on the organ) composer and arranger, he is joined by guitarist Richard McLure and drummer Ivan Torres for a straight-ahead organ trio recording of mostly standards.

From the sprinter's tempo of the first interpretation of "Cherokee," to the closing storytelling on "Walkin'," the Bogle Trio impresses with the crisp ensemble sound and their interplay. On the opening track all three solo and display their technical and musical command, with guitarist McClure's bright, single-note solos very appealing. McClure takes the lead on John Abercrombie's "Ralph's Piano Waltz," while Bogle provides a harmonic base before his pipe organ emulating solo while Torres puts down a crisp groove. There is a nice bluesy mashup of Neil Hefti's "Splanky" with Bobby Troup's "Route 66," that also includes some personable scatting and passable singing to go with the greasy organ-guitar here.

A relaxed, swinging take on "On The Street Where You Live" is followed by the closing talking blues, "Walkin'," with his engaging story-telling. McClure's chicken-picking guitar provides color to the vocal along with Bogle's repeated stepping riff pattern. If this is a somewhat brief CD (34 minutes or so), it is a wonderfully played organ jazz trio.

I received my review copy from a publicist. This review appeared in the January-February 2019 Jazz & Blues Report (Issue 382). Here is a video of Mike Bogle although on piano.

Red Holloway Go Red Go!

Red Holloway

Go Red Go!

Delmark Records

Delmark has just issued the label’s debut recording by the veteran tenor saxophonist, Red Holloway, “Go Red Go!” A contemporary of Von Freeman and the late Johnny Griffin at Chicago’s fabled Du Sable High, he came up under the tutelage of Captain Walter Dyett who advised his students to practice outside to develop their sound. Particularly important influences on Holloway were Ben Webster and Sonny Stitt, leading to his big, rich tone and fleet agility which certainly did not inhibit his ability to straddle the blues and jazz worlds growing up. He played on some classic Chicago blues sessions as well as jazz dates. His career has run the gamut to backing Charles Brown in the studio in the late sixties (with Charles calling out Red by name on a choice tenor solo) to the 1989 “Locksmith Blues,” date for Concord co-led with Clark Terry. 

“Go Red Go!” finds him blowing with vitality backed by organist Chris Foreman and his trio (guitarist Henry Johnson and drummer Greg Rockingham). Its a buoyant swinging date opening with a lively “Love Walked In.” Legendary guitarist George Freeman takes over the chair for Holloway's late night blues, “I Like It Funky.” The title track is a retitled rendition of an Arnett Cobb sax sender as he takes off at rug-burning tempo, followed by the more romantic feeling of the standard “Deep Purple,” a prime vehicle to display his sensuous ballad playing with his vibrato evoking Webster. 

Holloway also provides his own take on “Stardust,” one of the ballads Webster was most associated with. Sonny Rollins classic calypso “St. Thomas,” is an unusual choice perhaps but Foreman’s solid unison playing and chording underneath his dancing solo adds to its charm and Johnson takes a nice solo here as well. There are strong interpretations of “Bags Groove,” and Antonio Carlos Jobim’s bossa nova classic, “Wave." Guitarist Freeman rejoins him for the delightful reworking of Roosevelt Sykes', “Keep Your Hands Off Yourself,” that closes this album as he enthusiastically delivers the vocal with Foreman anchoring the performance and getting greasy during his solo that precedes the solos by Holloway and Freeman. Holloway used to play with Sykes. 

Holloway may not be a great singer, but the entire performance is simply too much fun and ends a finger-snapping, toe-tapping recording of first-rate jazz for lovers of tenor sax and organ jazz. He ain’t getting older, he’s just aging marvelously.

I received this review copy from Delmark, but am uncertain whether this 2009 review was ever published. (Correction, It was published in the July 2009 Jazz & Blues Report (Issue 318)). Here is Red Holloway from a decade singing and playing "Cleanhead Blues."  

Doug MacDonald Quartet Organism

Doug MacDonald Quartet
Organism
Self-Produced

"Organism" is the thirteenth album (and 3rd organ project) by guitarist MacDonald who leads an organ quartet including organist Carey Frank, tenor saxophonist Bob Sheppard, and drummer Ben Scholz. MacDonald is a Philadelphia native who was inspired by Inspired by such guitarists as Joe Pass, Johnny Smith, Howard Roberts, and Wes Montgomery while forging a personal style. He first played jazz in Hawaii working at a hotel followed by a period in Las Vegas where he played in lounges and showrooms with such greats as Joe Williams, trombonist Carl Fontana, and tenor-saxophonist Jack Montrose. MacDonald has become a fixture in Los Angeles playing with the big bands of Bill Holman, Ray Anthony, and John Clayton as well as such performers as Ray Charles, Sarah Vaughan, Stan Getz, pianist Hank Jones, and bassist Ray Brown. He also leads his own combos and his 13-piece ensemble The Jazz Coalition.

He impresses with his clean, fleet and imaginative attack and thoughtfully constructed solos. While much of this recording is straight-ahead organ quartet performance such as the opening rendition of "It's You or No One" where he opens unaccompanied and then dazzles with his driving solo solidly backed by Frank and Scholz before Sheppard impresses with the warmth and controlled heat of his tenor sax here and Frank takes off on the Hammond B-3. MacDonald's original "Jazz for All Occasions" opens with some fine tenor sax from Sheppard with MacDonald chording under him, followed by "L&T" starting in an atmospheric vein before becoming a heated swinger with more strong guitar.

Also, especially worthy of note is the imaginative interpretation of Sweets Edison's, "Centerpiece" with some sinewy, bluesy tenor sax with Frank supplying some cooking grease, while the lovely ballad performance, "Too Late Now," opens with some exquisite unaccompanied guitar before Sheppard plays with considerable warmth in his lyrical solo. A medley of "Nina Never Knew" with "Indian Summer" is the first of three solo guitar performances where MacDonald fully exhibits his clean, fleet attack and marvelous tone on a precious performance. "Poor Butterfly" is a solid, swinging solo performance, while MacDonald's original "Hortense," has a sparkly tone to it.

"Organism" is a recording with considerable charm. The Doug MacDonald Quartet has a clean ensemble sound as well as with controlled heat, providing a firm foundation for the imaginative, well-shaped solos heard on this very engaging recording.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although there may some minor changes from the review that appeared thre. Here is a video of Doug talking about this recording with drummer and producer Ben Scholz.

Jared Gold Reemergence

Jared Gold
Reemergence
Strikezone

Organist Gold has been a significant part of guitarist Dave Stryker's organ trio along with drummer McClenty Hunter. Among the more recent group of jazz organists, Gold has become a significant part of the NY jazz scene playing with such heavyweights as Oliver Lake and the late John Abercrombie along with Stryker. he has recorded 8 albums although it has been three years since his last as a leader. On this recording, produced by Stryker, legendary drummer Billy Hart joins the pair (and it is a working trio), with trumpeter Jeremy Pelt adding his brass to three of the nine selections. Gold contributed two originals to this recording with others coming from Gershwin, Stevie Wonder, Ornette Coleman, Doris Akers and Lennon and McCartney.

From Jared's opening title track to the closing "Nomad" by Stryker, Gold and his organ trio certainly delight organ jazz fans starting with an unusual blues that Pelt's vibrant trumpet adds fire to the unusual burning blues line. Gershwin's "It Ain't Necessarily So" displays his melodic touch as well as orchestral sound while providing a strong setting for Stryker's dazzling playing. There is a wistful reading of The Beatles' "She's Leaving Home." Pelt is present on "Looking For Another Pure Love," which contrasts with the solid funk of "One For John A," where Pelt adds his trumpet to Gold's chicken shack grease. Hart provides a light Brazilian groove to "How Long Has This Been Getting On," which is followed by a slowed down rendition of Ornette Coleman's "Blues Connotation," where Gold's use of dynamics adds to the impressiveness of the trio's performance.

While organ jazz might be viewed by some as jazz comfort food, one cannot deny how outstanding Jared Gold and trio are on this superb recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is a short live clip of this trio.

Dave Stryker Strykin' Ahead

Dave Stryker
Strykin' Ahead
Strykezone

Guitarist Dave Stryker returns with his 28th album as a leader with the same supporting cast as last year's "Eight-Track II": his working organ trio of Jared Gold on organ and McClenty Hunter on drums augmented with vibraphone player Steve Nelson, the same configuration as on that recording. Unlike that recording's focus on pop hits of decades past, the present album features his originals along with re-harmonizations of several jazz standards.

His time with Jack McDuff and Stanley Turrentine certain are evident on the opening 14 bar blues, "Shadowboxing," with some strong organ in addition to guitar. It is followed by a nice "Footprints," that starts off in an understated fashion with intriguing chordal variations on Wayne Shorter's classic number as the performs starts simmering with a building intensity. Nelson provides a different tonal voice with his shimmering playing here followed by some more impressive guitar with Gold's organ smoldering as the performance reaches its end. Another original follows, the swinging "New You," a contrafact of the oft-played "There Will Never Be Another You," which was inspired by the Blue Note recordings of Larry Young, Grant Green and Elvin Jones.

There is an exceptionally lovely rendition of Billy Strayhorn's "Passion Flower," followed by the lively title track and then another excellent, atmospheric late night blues, "Blues Down Deep," with Stryker's technique, restraint, taste and imagination at the forefront. A bright rendition of Clifford Brown's "Joy Spring," with some lovely unison playing from Stryker and Nelson along with some of Stryker's most scintillating fretwork is followed by a enchanting "Who Can I Turn To," with some peppery guitar, and surging organ from Gold.

The album closes with a spirited "Donna Lee," with fast fluid fretwork along with Nelson's nimble mallets. I haven't mentioned Hunter, but his crisp, imaginative stick work adds rhythmic accents as well as drive these marvelous performances forward. With his latest, Dave Stryker continues to impress with his imaginatively conceived and superbly played recordings.

I received my review copy from a publicist. This review originally appeared in the September-October 2017 Jazz & Blues Report (Issue 374). Here is Dave Stryker performing at Small's in New York City.

The Greg Hatza ORGANization Diggin' Up My Roots

The Greg Hatza ORGANization
Diggin' Up My Roots
Flip Records

Hammond B-3 master Greg Hatza was playing boogie woogie on the piano at the age of 5 growing up in Reading, Pennsylvania. Growing up on classic R&B, he becoming obsessed with the Hammond B-3 after hearing Jimmy McGriff and Jimmy McGriff. Baltimore Colt legend Lenny Moore caught Hatza playing at a hotel in Reading, and asked him to perform at a club that he was opening in Baltimore. Moore would also became his manager and Hatza moved to Charm City, and recorded a couple albums for Coral Records at this time. Subsequently he led pretty diverse career, including playing other electric keyboards and later studying tabla and sitar. He met Joey Defrancesco in 1994 who advised him the B-3 was undergoing a popular renaissance and returned to playing that and forming the Greg Hatza ORGANization, who currently also consist of Robert Shaid on drums, Brian Kooken on guitar and Peter Fraise on saxophone.

The title of this disc refers to the R&B and blues songs that Hatza heard growing up and there are eight interpretations of "High Heel Sneakers," "I Got a Woman," "Back at the Chicken Shack," "Night Train," "Please Send Me Someone To Love,""Hand Jive,""Something You Got," and "Stagger Lee." There are also three originals, including a couple of vocals. The mood is set on the opening, bouncy blues, "Baltimore Strut," that allows Fraise to get down as Hatza lays down a greasy foundation before Kooken solos while Shaid and the leader maintain the groove. An original blues "Big Big Back," opens with some down-in-the alley organ before Hatza takes a vocal about his baby having a big behind. Hatza is ok as a singer, but he sounds off-mike for most of it before the closing vocal where the rest join him. It is followed by Tommy Tucker's "High Heel Sneakers," with a funky riff providing a fresh take on the blues classic.

The last original, "Headin On Down South," is another slow blues with some bluesy guitar from Kooken and a decent vocal. The renditions of "I Got a Woman," "Back to the Chicken Shack" and "Night Train" are straight-ahead organ group performances with everything played at a relaxed tempo. "Night Train," is partly adapted from the James Brown recording with Fraise's sax solo evoking Jimmy Forrest. The longest performance is the moody take on "Please Send Me Someone To Love," with some fine bluesy solos from Hatza, Fraise and Kooken. There is also a peppy take of the John Otis hit, "Hand Jive."

Digging up his musical roots, Greg Hatza has produced a solid, blues-drenched Hammond B-3 led jazz recording that will delight organ and soul jazz fans.

A publicist provided download files for the review. This review appeared in the July-August 2017 Jazz & Blues Report (issue 373). Here is The Greg Hatza ORGANization in 2011 performing Jimmy Smith's "Back at the Chicken Shack" from the now-defunct New Haven Lounge.

Gregory Lewis Organ Monk, The Breathe Suite

Gregory Lewis
Organ Monk, The Breathe Suite
Self-produced

The remarkable organist Gregory Lewis's latest album represents an attempt to pay homage to the victims of police violence in the US, several of which are named in the various parts of the work. The title is a reference to the cries of "I Can't Breathe" that Eric Garner was heard saying several times while in the chokehold that ended his life. He is supported here by an impressive cast of musicians including drummers Nasheet Waits and Jeremy 'BEAN' Clemons; guitarists Marc Ribot and Ron Jackson; tenor saxophonist Reggie Woods and trumpeter Riley Mullins.

Lewis is of course one of today's most striking Hammond B-3 players, and this release also illustrates how original a composer he is. The album opens with "The Chronicles of Michael Brown," the victim of a police shooting outside St. Louis. It opens with Lewis' sober atmospheric introduction with Ribot adding some acidic guitar as the horns join in the opening statement with Waits' drumming adding to the suspended tempo of the opening before Woods, Mullins, and Ribot explode with their solos. The second part of the suite, "Trayvon" (for Trayvon Martin) is a brisk, bluesy trio with trio Jackson and Clemons, followed by "Aiyana Jones Song" (Jones being a seven-year old killed during a police raid of a residence), a reflective performance by this trio with some stunning straight-ahead guitar along with Lewis' marvelous, at times bouncy playing here more in the vein of a Larry Young than Jimmy Smith and Jack McDuff. The quintet with Waits, Ribot, Woods and Mullins returns for the atmospheric "Eric Garner," that slowly builds intensity with Wait's standing out.

The final two parts of the suite are "Ausar And The Race Soldiers" and "Ausar And The Race Soldiers Reprise." The title here likely refers to the Ausar Auset Society, a Pan-African religious organization. The first part is a spirited quintet performance with Clemons, Jackson, Woods and Mullins, all of whom are on fire here. The Reprise is a driving trio performance by Lewis with the two drummers where Lewis's virtuosity and his improvisatory imagination is at the fore here. They conclude a recording full of exceptional music that is a worthy homage to the tragic events that inspired Lewis here. 

I received my review copy from a publicist. In the video below, Gregory Lewis discusses how he became Organ Monk.

Dave Stryker Eight Track II

Dave Stryker
Eight Track II
Strikezone

This is a followup to guitarist Dave Stryker's 2014 recording "Eight Track." In the notes to that release, Stryker observed that the 70's (the time of eight track decks) was “a time when there was a lot of great pop music going on as well as jazz.” On that album, his trio of organist Jared Gold and drummer McClenty Hunter was augmented by vibraphonist Stefon Harris. Gold and Hunter are back for this date, but once again he has added a vibraphonist to the organ trio, in this case Steve Nelson.

There is plenty of pleasures on this new collection of grooves as he re-imagines songs from The Isley Brothers, Marvin Gaye, Stevie Wonder, The Temptations, Prince, Cream, The Zombies, James Ingram and John Barry. This is music that is breezy, funky and definitely tied to a groove with Nelson adding unusual textures to the unusual twists taken on a reflective "What's Going On," a driving "I Can't Get Next To You," a bouncy "Time of the Season," a dreamy "Midnight Cowboy," a recrafted "Signed, Sealed, Delivered, I'm Yours," and an organ based shuffle reworking of "Sunshine of Your Love," that sounds like something he might have played with Brother Jack McDuff in the 1970s.

Throughout Stryker displays his clean, imaginatively executed playing while Gold digs deep in the grease with Nelson's shimmering vibes provides additional musical delights for this second helping of organ jazz transformations of 70's pop. And let us not forget Hunter's solid swing driving these performances along. We will need to hope for for Eight Track III in a couple years.

I received my review copy from a publicist. This review originally appeared in the September-October 2016  Jazz & Blues Report (Issue 368). I have made minor changes to that published review. Here is "Trouble Man."

 

Little Charlie and Organ Grinder Swing Skronky Tonk

Little Charlie and Organ Grinder Swing
Skronky Tonk
EllerSoul Records

While best known for his blues guitar Little Charlie Baty has been including playing some jazz-like material with Little Charlie and the Nightcats. While with that band, he did a solo project in 2005 rooted in the swing era that Alligator passed on. A few years later he had an opportunity to do a blues and jazz CD which he was delighted with, but alas still as not been released. He since has left fronting the Nightcats and engaging in a variety of different musical activities including touring with Anson Funderburgh and James Harmon, playing gypsy jazz and other jazz settings. In any event as Baty says, the third time is the charm, as EllerSoul has issued his first jazz recording by Little Charlie and Organ Grinder Swing, "Skronky Tonk" with Lorenzo Farrell on the Hammond B-3 (and bass on one track) and J Hansen on drums and percussion.

The mood is set on the opening title track, a blues, that provides the trio's sound and feel, with Baty displaying the taste and technique and musical imagination one expects. Listening to this recording one can hear a variety of influences at different times, Charlie Christian, Django Reinhardt, Kenny Burrell, Barney Kessel and Les Paul. Paul's influence perhaps is most evident on passages of "How High The Moon," but even here Baty mixes in some bebop later. One can't underestimate Farrell's contributions whether comping or taking some greasy solos. Django Reinhardt's "Nuages" may be this listener's favorite track, with Baty outstanding with his nicely nuanced playing and warm tone and followed by his mix of single note runs and chords on "Pennies From Heaven," which also sports some deep fried grease from Farrell.

Baty's original bop tune, "Gerontology" is followed an evocative rendition of John Lewis' tribute to Reinhardt "Django," with Farrell evoking a church organ on this chamber jazz-type performance. Then there is the peppy Charlie Christian classic "Swing to Bop," and a nice rendition of the Brazilian choro classic from Pixinguinha, "Um a Zero." "Flying Home" closes this very solid guitar-organ trio album. I have not mentioned J. Hansen's contribution, but he is constantly in the pocket and pushing this swinging recording along. Farrell's Hammond B-3 playing is a revelation for a person who is known as a bass player, but displays his mastery of the organ here. Charlie Baty, with his consistently inventive, fluid jazz guitar, exhibits a side of his musical personality that many have not previously heard. One looks forward to more from him in this vein.

I received a review copy from a publicist. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). I made a few minor revisions to the review. Here is Little Charlie and Organ Grinder Swing performing Kenny Burrell's "Chitlins Con Carne."

Greg Lewis' Organ Monk and American Standard

Greg Lewis’ Organ Monk, an organ led group that has focused on the music of Thelonious Monk, has an unique focus in their third album, American Standard (self-produced). While previous recordings have interpreted Monk’s compositions, American Standard plays songs that Monk did not write but did perform. Those who have heard Monk’s renditions of songs from Duke Ellington as well as songs such as Liza, Between the Devil and the Deep Blue Sea, Dinah and Just a Gigolo know how distinctive Monk's renditions of these songs are. Lewis takes Monk’s renditions as inspiration and a starting point for his group’s performances on this recording.

For this recording, organist Lewis’ Organ Monk includes tenor saxophonist Reggie Woods, guitarist Ron Jackson, drummer Jeremy "Bean" Clemons and trumpeter Riley Mullins. This writer is familiar with some of Monk's recordings of these standards with his angular lines, his spare phrasing and what he omits in his stride-rooted piano. The Hammond B-3 does not lend itself to such an attack, but the group does provide distinctive renditions in the performances heard here.

I was very impressed by the playing throughout. Lewis is a strong organist with a punchy attack on Nice Work if You Can Get It, that also displays gritty tenor sax by Reggie Woods. Mullins displays fire on Lulu’s Back In Town, while he takes a bit softer and rounded approach on “Dinah” before Woods plays in a bit more gut-bucket manner. The ballad, “I Should Care,” is a showcase of Mullins as well as for the leader. “Tea For Two,” in contrast is a trio number that showcases the nimble, fleet guitar of Jackson. On “Everything Happens To Me,” Woods helps construct the mood with some bluesy-playing against the leaders organ backing. 

Drummer Clemons sounds heavy handed at a few points, but it is not a serious issue on this strong, fascinating organ jazz recording.

I received my review copy from a publicist. Available from cdbaby.com, this has a street release date of January 7, 2014. Here Greg Lewis talks about this project.

Tom Dempsey's Saucy Guitar-Organ Jazz

It was not long after guitarist Tom Dempsey's first exposure to jazz guitar (Wes Montgomery's Smokin' at the Half Note) that led him to Smith's recordings and Wes Montgomery and later the classic Jimmy Smith recordings with Kenny Burrell. This is music that has been a crucial part of his music especially since moving to New York City in 1991. It informs Dempsey's organ trio recording, Saucy (Planet Arts), with Ron Oswanski on organ and Alvin Atkinson on drums.

Dempsey cites Wes Montgomery, Kenny Burrell, George Benson, Jim Hall and Grant Green as key influences and inspiration who "remain at the root of my soul as a musician." He does a fine job job of displaying that on his peppy original One Hundred Ways that opens up this recording which ranges from originals to interpretations of well known (Bridge Over Troubled Water) to somewhat obscure (Buddy Montgomery's Bock to Bock). 

Bock to Bock is an particularly appealing selection with a jaunty groove and Dempsey exhibiting a clean, skilled and imaginative sense with Oswanski adding the right amount of grease. The title track is a lively blues with some nice playing that would make Burrell and Green happy. It is the type of instrumental that the late of Albert Collins might have easily adapted and Atkinson trades fours with Dempsey and Oswanski. 

Dedicated to Ted Dunbar, one of his teachers and mentors, Ted's Groove, has a loping rhythm and an intriguing melody. Atkinson's sets forth a medium march tempo to start, Bridge Over Troubled Water, with fascinating interplay between Dempsey, Oswanski and Atkinson who is quite imaginative with his stick work. Dempsey plays an acoustic Martin guitar that the widow of Joseph Grana entrusted to him after he passed, and his very clean and restrained playing marks the lovely ballad Always Around. Another lovely performance is the trio's rendition of Lee Morgan's Ceora, with a Brazilian touch. 

The CD closes with Dempsey's driving Pat-a-Tat-Tat, a nod to the great Pat Martino. It is the coda for a wonderfully played and delightful recording. 

I received my review copy from a publicist. Here is a clip of Tom in performance (not an organ trio though).