Doug MacDonald Quartet's Organisms

Man, I seems like forever since I've heard some good B-3 Hammond organ-based jazz. The Doug MacDonald Quartet's Organism almost slipped under my radar--it has such an unassuming album cover, and I think it's been in the review pile for months. It's not like I expect all organ jazz to feature a B3 on the cover or to have "ORGAN JAZZ" written in bold letters, but it just seems like I never get tired of this music. Some jazz genres, yeah, I do place them back in the queue because I'm not in the mood. But I'm always in a Hammond mood.

In this case, Doug MacDonald is not the organ player. He's the smooth electric guitarist you hear out front. The B3 is played by Carey Frank, who is one of those Hammond players who add a drone-like layer of texture to the proceedings, although he is given the chance to solo his butt off at least once every song. The rest of the quartet, sax player Bob Sheppard and drummer Ben Scholz, are synched up with the other two in an unassuming and gentle way--something you might not expect from a sax player. Organisms is a low-key album, smoothly integrated into a relaxed whole that feels like an afternoon spent drinking with an old friend.

Doug MacDonald's been around for a while--this is his 13th album as leader. This CD has been waiting around so long, in fact, that #14 has already arrived. If I wasn't such a geek about the B3 I'd be focused on the way MacDonald plays his guitar. Like Frank, he floats back and forth between the front edge of the stage and the background, always lending a quiet touch when the others are soloing. He is the leader, but it's not as obvious as you think. Each note outside of a solo is designed to coax the others to explore. That said, he does add a lot of texture to his notes from the tips of his fingers and always lets you know how's he's coming up with these great little riffs.

Organisms isn't a landmark album by any means, or a step in a new direction. There's a sense that these four musicians really like each other, and that the whole is incredibly rewarding because there are no lofty expectations. This is a breezy album that flies by like a pastel ghost, and it will put you in a fabulous mood if you love the Hammond B-3 as much as I do.

Tony Monaco's The Definition of Insanity

Yesterday I hinted that I had already noticed a trend in contemporary jazz, but I didn't say what that was. I'll go ahead with the reveal--it's tango. I'm looking at a lot of new CD releases right now, and it's surprising how many of them are tango or at least full of Argentine influences. A lot of this music is downright beautiful, but I'm not quite done yet with last year's trend of organ trios. You know, Hammond B-3 organs, one of my favorite instruments in jazz, the big jazz trend of 2018. It seems like it's been a while since I've reviewed an organ trio, but Tony Monaco has come to my rescue with one of the most enjoyable releases in some time.

Organ trios are unusual for a couple of reasons. First, there's no bassist--the lower notes are handled by the B-3's pedals. There was a time when I thought it would be a good idea to learn how to play the B-3 since it seemed so easy. But throw in the pedals and I'll immediately crash and burn. It's not easy at all. Second, organ trios can use the Hammond in two distinct ways--as the soloist, or as the supplier of endless textures and moods, sort of like a rhythm guitarist in a rock band. Monaco has taken the road in between--he takes equal turns with drummer Tony McClung and guitarist Derek DiCenzo so that this trio is something more than a well-oiled machine--it is a singular entity in constant motion.



This ensemble, in other words, is tight. It's driving music, full of momentum and groove. Monaco has recorded ten albums up to this point, mostly of his original compositions. On The Definition of Sanity he has chosen covers, but the trio approaches them in a sly way that lead up to a moment of surprise halfway into the song--oh, this is "Truckin'" from The Dead? Or Floyd Kramer's "Last Date"? Or Leon Russell's "A Song For You"? Or "Cars Trucks Buses" from Phish? It's sort of a cliche to say that Monaco goes out of his way to make each one of these familiar songs "his," but he does. It's only once in a while, such as "Never Let Me Go," where the trio plays it straight--with Tony singing and his wife Asako Monaco taking a lush, romantic turn at the piano.

Monaco is in complete control on this album--he arranges, produces, mixes and masters, and does a great job of it. He even adds playing the piano and the accordion to his portfolio. "He's particularly proud of the high production values," the press kit explains. "He recorded it at a very high resolution to create its crystal clear sound." That's something you might find in the liner notes of an audiophile production, not a mainstream contemporary jazz release, but yes--the sound quality is magnificent. It's easy to keep it simple and pure with small ensembles, but it can be tricky to capture all those sounds a B-3 makes in addition to the mere notes. That's why I love the B-3, quite frankly, because it's such a human instrument. So far, Monaco is one of the most gifted humans I've heard when it comes to playing this wonderful organ.

Mike Bogle Trio's Dr. B!

It seems like it's been forever since I've had a great organ jazz trio in for review. These jazz genres tend to arrive in waves, and the season for Hammond B-3s must have passed many months ago. But now that there's snow on the ground, this type of jazz is so warm and welcoming--and like magic, the sun came out today once I started listening to Dr.B! Mike Bogle's to blame, and so is that exclamation mark.

Bogle is known primarily as a Texas-based jazz pianist, trombonist and singer, but Mr. B! is his tribute to the B-3, a relaxed and laid-back set with just the right amount of playfulness in the groove. Bogle has teamed with guitarist Rich McClure and drummer Ivan Torres, and while the latter two are actually quite energetic in their approach, it's the Hammond that acts as a musical varnish, a smooth coat of easiness that permeates every track. Moving from piano to B-3 might not sound like a huge leap, but there's an art to adding the unique Hammond textures, those steady growls and flourishes that seem almost impossible to recreate on other types of keyboards. Bogle gets this, and his B-3 is a magical combination of smoothness and light.

Bogle's worked with the best, including Doc Severinsen (who is still cooking at age 91), Jaco Pastorius and Burt Bacharach. He's also a former member of the One O'Clock Lab Band from the University of North Texas. He did all this as a trombonist and pianist, however, so that makes his B-3 "debut" a bit surprising. He's such a confident and distinctive player, especially when it comes to his mastery of the bass pedals. It shouldn't come as a surprise since Bogle plays in so many different ensembles--an experimental rock group, a Caribbean jazz quartet and a big band. He's perhaps most famous for his solo piano recordings, which include everything from Joplin to Gershwin to Brubeck.

Even Bogle's vocals are fun and intriguing. Despite his Texas roots, Bogle's voice is straight out of New Orleans, sometimes bouncing off a Tom Waits half-speak and sometimes reaching deep into a blues baritone. On the last of these five extended jams, an original named "Walkin'," Bogle tells the story of a mystery man walking through unfamiliar neighborhoods and finally coming to the conclusion that it's better to "keep walkin' by." This is an apt metaphor for Bogle's musical prowess, that he can approach something new and walk with a confidence that can carry him safely through the night.

Jared Gold's Reemergence

Jazz guitarist Dave Stryker has been a busy guy. Not only have I reviewed two of his albums, Eight Track II and Strykin' Ahead over the last year or so, he's appeared on a lot of other musician's albums such as Steve Slagle's Dedication. Just yesterday I reviewed McClenty Hunter Jr.'s wonderful new album, The Groove Master, and Dave Stryker co-produced that album and played guitar on a song or two. On Jared Gold's new album Reemergence, Stryker also plays a huge role--he plays guitar on all tracks and he produces. Oh yeah, this album is released on the Strikezone Records label, just like Hunter's. No wonder I received both CDs in the same padded envelope.

As with Hunter's album, Reemergence isn't about Stryker, although his influence is felt more here. Gold plays none other than the Hammond B-3 organ, which has become a major theme for contemporary jazz over the last couple of years. (Or perhaps its presence has been felt for much longer--and I'm just starting to notice and I'm totally digging this renaissance for the instrument.) Reemergence is more lively and brash than Hunter's somewhat moody and thoughtful album and is more consistent with the more rambunctious tone in Stryker's albums. I'm talking, of course, about that Paul Schaffer-esque sound where the guitars and the organ drive the melody in an upbeat and lively manner.

That doesn't sound surprising for the organ to take the lead, obviously, but I have heard B3 players sneak around in the background and provide enormous amounts of texture between solos. Gold is up front, taking turns with Stryker and horn player Jeremy Pelt. Drummer Billy Hart comprises the rhythm section along with Gold, who is working sans bassist and is covering the deep notes with the floor pedals. Working without a bass player isn't unique in the world of jazz (or even rock, as Ray Manzarek will tell you), but it does underline the virtuosity of this type of B3 player.

Unlike Hunter, who played patiently for years before stepping out in front, Gold is an old pro when it comes to making records--Reemergence is his eighth solo album, and he's been featured on many, many others. He has extraordinary taste when it comes to his covers--Gershwin's "It Ain't Necessarily So" and "How Long Has This Been Going On," Ornette Coleman's "Blues Connotation," and even Lennon and McCartney's "She's Leaving Home," which has been totally transformed by the original. It took me a while to place it. He takes a cue from Hunter by covering Stevie Wonder's "Looking for Another Pure Love," which feels like a specific suggestion from Stryker. Gold throws in a couple of exciting originals before paying tribute to Stryker by ending the album with "Nomad."

Stryker has become quite a creative force in contemporary jazz, and he's doing it by lifting up his colleagues and friends and showing the world what they can do. Both The Groove Hunter and Reemergence are strong releases, standouts in a still young 2018, and I look forward to more introductions like this from Strikezone Records.

Robert Kennedy's Closer to Home

If the world of contemporary jazz is going to have a theme for 2018, it's probably going to be "The Year of the Hammond B-3." Over the last few weeks I've received so many new jazz releases that feature the classic B-3 organ, and if I've learned anything it's this: I love the B-3. It puts me in a great mood, a sunglasses kind of mood. I love the growl, and I love how the player can easily manipulate the dynamics. It's the kind of instrument that can hang back, almost as a drone, and just add a little texture to the music--and it can also take the lead and drive the melody. It's unique and flexible and I'm not surprised that B-3 recordings have become so popular.

Robert Kennedy's new album, Closer to Home, is one of my favorites to come down the pike. One of the main reasons is because Kennedy, who has been on the stage since the late '80s, plays the B-3 a little differently than everyone else. His Hammond is a little more low-key than usual, but also fun and playful. He fleshes out the sounds of the B-3, and holds them up for everyone to see. Sometimes these notes are round and breathy, and sometimes they are guttural and fluid. Most B-3 players seem hyper-aware of the timbre of the instrument and know, in advance, that certain feelings will be evoked. These feelings may be mostly nostalgic, which tends to give most B-3 recordings a specific sense of time and place. Kennedy can do that as well, when he wants, but it's surprising how he's more interested in creating layers of sound and texture that allow his fellow musicians to shine.

Closer to Home is sort of a sampler for Kennedy. He includes ten tracks from ten different composers including Bobby Timmons, Clifford Brown and Bill Bell, and they cover such a wide range of jazz genres--bebop, soul, blues and even gospel. That gives each tune a very different feel and yet Kennedy is the constant throughout, adding just enough of his keyboard magic to let you know he's the driving force behind these tunes.

Yet there's something more here, something that makes me really settle in and float along with this music. This isn't wild, rollicking jazz--it's deliberate and smooth and very relaxed. The sound quality is superb, and that allows you to hear the B-3 in its fixed point in space against the other superb musicians (guitarist Terrence Brewer, sax player Ben Torres and drummer Cody Rhodes), and that illustrates how the entire instrument is a living, breathing thing. That may be the characteristic I find most impressive about the B-3--it's an electronic keyboard that sounds utterly organic and natural. Robert Kennedy understands this, and that's what makes Closer to Home so rewarding.

Gregory Lewis' Organ Monk, The Breathe Suite on CD

This new CD from the man who calls himself the Organ Monk starts off like so many other jazz albums I've heard of late--loose, free and delirious. The only difference to the chaotic, guttural rumblings that begin this album is the presence of a big, meaty Hammond B-3 which adds an almost surreal and almost sinister feel. On first listen, I thought about the fastening of seat belts in preparation for a long and bumpy ride, especially after spending so much time with the Oliver Lake CD I just reviewed. Then, after a couple of minutes, Gregory Lewis and his band settle in and start jamming like there's no tomorrow.

The Breathe Suite, while funky and full of energy, also has a dark and serious side that underlines a tight set performed by a quartet headed by the ever-likeable B-3. Lewis has composed a suite in five movements, with each one dedicated to "an African American who had been killed during confrontations with police officer." So we have five distinct pieces for Michael Brown, Trayvon Martin, Aiyana Jones, Eric Garner and Osiris Ausar. Each piece sustains a different feel and mood, and you can easily see how the circumstances of each death inform that feeling.

Lewis and his sidemen (which include Marc Ribot and Ron Jackson on guitar, Reggie Woods on tenor sax, Riley Mullins on trumpet, Nasheet Waits and Jeremy Clemons on drums) have always had a reputation for playing loud and fast. They're also known for their fun, revisionist treatments of Thelonious Monk, which explains Lewis' nickname. But this crew has been wowing audiences over the last couple of years with this new, original work. Lewis chose not to include lyrics, either sung or spoken, so that the music could "serve as an outlet for a deep emotional interface with a topic that can transcend an immediate reaction to a fleeting headline."

That's one reason why many of the passages are so contradictory in mood--there are periods of sadness and regret evident everywhere, but the almost jubilant sections exist as tributes to these human beings and the lives they led. A cursory listen reveals all these moods in an almost jarring manner, but once you sit and inform yourself about these five tragic figures you'll start to hear the fluid transitions that alternate between anger and resilience.

Even if you choose to take a step back and not submerge yourself in the important questions that get raised in the aftermath of tragedies, you'll still be moved by Lewis' exquisite and instinctive work with the B-3. If you love the Hammond as much as I do, you'll appreciate the newness he brings to these keys, the clarity and the speed and the energy. If you're willing to take a step inside to find out what's really going on, however, The Breathe Suite is a dizzying masterpiece.