I can say patently that I do not come to this recording as a die-hard fan of organ jazz. In fact this is the only jazz organ recording I own and this one was given to me. Until I attended Joey DeFrancesco's gig at the Dakota last winter, I had intentionally avoided organ dates. I was not totally converted by Joey D, but I was warming up. Then I heard the amazing Dr. Lonnie Smith with sax veteran Lou Donaldson in August, and the fabulously subtle Mike LeDonne (with Eric Alexander) just last week, and I was even closer to admitting that the Hammond B-3 was a powerful jazz voice. Now, hearing local "organizer" Holloman with his regular Tuesday Night Band, I have arrived--count me among the believers. This is jazz, not stadium or elevator music, and while it is indeed "satisfying to consume," it requires as much effort and musicianship to reach artistic nirvana as any jazz endeavor. "Easy to make?" Maybe as easy as a critical review.

Long-time organ grinder AQ documents a typical set of the "Tuesday Night Band." And while it won't rock the foundation of modern jazz, blazes no trails, nor ups the ante for trio magic, it succeeds in bringing lively, off-kilter readings to otherwise-familiar tunes and showcasing local talents that are often under-rated.

From the git-go, Robson declares the lead-off "Real Good'n" (Jack McDuff) to be "three choruses too long," which only suggests that he really is not interested in how Holloman builds intensity. What this recording avoids, unlike many live and studio productions, is the tendency to cut the music short for the sake of casual attention spans. Like strong live sets in jazz, This Is Organ Night lets the band stretch out with most tracks running over six minutes and several building over eight. This may require too much concentration for those awash in pop-up ads and blinking cursors, but I have faith that the typical jazz enthusiast can sustain interest in musical themes that take multiple minutes to build and resolve.

Neil Hefti's "Cute" features Gary Berg's feisty sax, introduced by Kenny Horst's rollicking drums, with a lightly wailing organ not far behind. And I agree with Robson's description of the "graceful latticework" of "Footprints," while totally disagreeing that the trio's approach is "ill-suited" to Shorter's well-trod masterpiece. Here, Berg's sax gives the melody a mournful overlay, peppered by some hyperkinetic if repetitive poundings from Horst. In contrast to the original and many other renditions of "Footprints," here the organ brings new twists to Shorter's theme, providing bubbling lava, not so hot that you sweat, but with enough danger to keep you on your toes. These guys can exercise restraint! Berg comes back to the head before it gets tedious and hits a gnarling cadenza to close out a very satisfying track.

"Dis Here" is one of Bobby Timmons' best known compositions, and Gary Berg's alto gives it a melodic opening, with soft support from organ and drums highlighting the beauty of the tune and its many possibilities for improvisation. Holloman comes in slowly and quietly, milking the melodic variations while Horst weaves a subtle netting, allowing the organ to build layer upon layer. More so than what I have often heard from Kenny Horst, his drum solo is dynamically elastic. This is the longest cut on the CD and perhaps the most complex. The track ends with a bit of wail, a tinge of regret.

An unusual choice is the next track, "When Johnny Comes Marching Home." If you only look at the title, you might indeed think of this as what Robson calls a "kindergarten crowd pleaser." There's nothing here that remotely resembles grade school puffery. Instead, there's an edge of melancholy appropriate to the context in which the tune was originally written, rather than the rousing military tribute so often heard in other genres and presentations. But after the first segment, Holloman takes off at full tilt, ripping up and down the scale and turning the melody inside out. Kenny Horst offers bursts that are far from subtle, adding some militaristic accents but largely supporting a broader framework.

"Take 5" (Desmond) is relegated to "a renowned high brow doodle" in Robson's words, yet this is hardly a minor composition, given its role in the genesis of time-fracturing works that followed, for Brubeck and others of its time. The translation of the theme from sax to organ works surprisingly well and Holloman treats the odd time signature with ascending and descending flourishes. Horst then brings his percussive arsenal to play over Holloman's laid back ostinato, and finally Berg picks up the theme, not reminiscent of Desmond but with a peppy vibrato that slides into a brief deep cadenza.

Two Horace Silver tunes get appropriately funky blues treatment. "Sister Sadie" profits from some fine tenor sax sizzling over a laid back organ/drum tag team beat. Berg injects some bluesy tinted honks before Holloman takes over with a busy vamp atop Horst's steady poppin' support, moving into repeated waves of the B-3 before Holloman and Horst start horse-trading solos. The theme returns with organ and sax playing off each other, and everyone has his say before the last crash. "Seňor Blues" features an ostinato bassline from Holloman introducing a blues-draped sax melody before the organ joins the chase.

Monk's popular "Well You Needn't" displays a sprightly opening from the tenor sax that moves into a suitably twisting improvisation over subtle support from organ and drums. Holloman is ready for a full if tempered assault when he comes in, infusing a delightful quirky rhythm to the mix. Horst's trademark bouncing thuds readily, if predictably, set up Berg's return. This is not the most innovative take on Monk's tune, but is accessible and engaging without going over the top.

An apt closing tune, "Funky Mamma" highlights a lot of the elements one expects from both organ and sax when settling into a funk groove, while a rolling snare and fluttering vibrato from Berg's tenor give this more interest than what might be anticipated reading Robson's "pull you a draft" commentary.

And if you just want to sit back with a chilled mug and let the vibe speak for itself without giving the construction much thought, you will find this recording--and the live performances--more than enough to engage your spirit. But there is more simmering here beneath the surface pleasures if you're looking to engage your mind as well. Simple fun does not preclude sophisticated artistry, and sophistication does not trump a good time at the Artists Quarter.

For more information about Billy Holloman, Tuesday organ night, and upcoming events at the www.mnjazz.com.