Last Friday night he played in Gainesville Florida. After a two hour drive, I arrived at the Savannah Grande at about 7:30. Most of the tables were already filled. I walked around a bit and ran into Chuck Michaelson, who works at the local jazz station and who had spent the afternoon with Tony. He informed me that Tony was playing a "new B3" which was being furnished by the local Hammond dealer. Looking at the organ from the back, the only clue I had was the AC outlet box and the volume pedal. The cabinet was indistinguishable from a vintage box. It was hooked to a new Leslie, of course, miked in Tony's rather unusual method: two AT mics , one on each side facing parallel with the cabinet at the top, and a single mic on the bottom.

 After two lengthy introductions, the band came on shortly after 8:00. Tony's longtime drummer, Louis Tsamous and local guitarist, Carl Wisemantle (sp?) rounded out the trio. They launched directly into Tony's "Backward Shack". The tune ended in tumultuous applause. Tony thanked the audience by saying, "I could have played one set tonight, but I've just decided, we'll play two." More applause. Then he played "Mellow Mood" from his "Live at the 501" cd. Tony was clearly enjoying himself and the crowd was totally into the one hour set that followed. The guitarist held his own though he obviously wasn't completely familiar with the material.

Tony's playing ran the gamut of emotion and technique: blazing 64th note runs, soulful melodies, unflagging walking bass (played either in left hand or pedals), big block chords in syncopated rhythms or protracted tension-building passages, his trademark "bouncing glissandos", squabbling, you name it, Tony Monaco can do it masterfully. After a dazzling hour of this, Tony finished the set with a tribute to Don Patterson "The Good Life" with so much heart, the guy in front of me, an old jazzer himself, had tears in his eyes. I swear.

On the break, Tony mixed with the audience, shaking hands, answering questions about the organ, and signing autographs. I introduced myself to him and we talked for a bit. Tony's love for the music and enthusiasm was almost as evident in his conversation as in his playing. He suggested we get a drink and go outside for some air. We chatted a lot more until the drummer came out and said "Hey Tony, think we should go back and play some more?"

The second set was every bit as exciting and prolific as the first. Tony and Louis are incredibly tight, and Carl ripped off several outstanding solos. After one song, Tony shook Carl's hand and said "He's In!"

I can't say enough about Tony Monaco's amazing facility at the B3. He thoroughly exploited all the nuances of the instrument. His registrations ranged from percussion-only to the usual four-out, to "quints", (lots of black drawbar), to full organ. His use of the three speed leslie and the vibrato tabs was very effective, his bass playing is stunning, his comping and his soloing phenomenal. And, I should mention, his vocals are very good also.

He finished the evening with a song I had requested, "Mimosa" and then an encore. The crowd was on its feet and showing its appreciation for this great evening of jazz organ mastery.

Tony spent quite a bit more time chatting with me after the show, but over his shoulder, I could see the radio station guys getting a little antsy, so I told him I'd let him get back to his hosts, and took a powder.

Whoever most consistently plays what you want to hear is the guy you think is "the best". Tony Monaco played everything I ever wanted to hear a Hammond organ do.

If you get a chance to see this cat, please do it. You owe it to yourself. And be sure to go up and talk to him. Buy him a drink. Tangueray and soda on break, Jack after. He's gonna be in San Francisco this weekend. So go. Check his website to see where he'll be after that, But see him.