Jimmy Smith

Ever since Jimmy Smith teamed up with Thornel Schwartz for his Blue Note debut in 1956, the combination of organ and guitar has been a mainstay. This years' crop of releases bear witness to the fact that, even in the post Jimmy Smith era, the marriage of guitar and organ remains rock-solid.

It was Jimmy that revolutionized jazz organ in the 50's and he remains the most influential jazz organist to date. Throughout the 50's and 60's, jazz and blues clubs nationwide bought organs and the popularity of 'soul jazz' was strong with great organists like Jack McDuff, Don Patterson, and Richard “Groove” Holmes. At that time, Larry Young took the next giant step and became the second most influential organist coming from a post-bop, Coltrane-informed sensibility and marched into jazz-rock fusion. Young played with Miles Davis in 1969 and in Tony Williams' trio, Lifetime, with John McLaughlin in the early '70s. Larry Young's untimely death in 1978 robbed the world of a major talent.

The late 70's and through the 80's saw the growth in the popularity of synthesizers at the expense of organs. However, the warm 'organic' sound of the Hammond came back into style in the late 80's, partially due to the virtuosity of the young Jimmy Smith disciple, Joey DeFranceso. Clubs featuring weekly organ nights have been slowly sprouting up across the country. Young folks who came to love the sounds of the Hammond organ in dance clubs are now being drawn to jazz clubs and road houses that feature organ; clubs such as the Artists' Quarter in St Paul, the Blue Room in Atlanta, Bob and Barbara's Lounge in Philly, the Green Mill in Chicago, Jimmy Mack's in Portland, Perk's in Harlem, Ravai Room (with the great Tony Monaco) in Columbus, and Smoke in New York.

Organ/Guitar Trio recordings of 2006

One of the most satisfying releases this year is Dave Stryker’s second release for the Mel Bay label, The Chaser, which features organist Jared Gold and drummer Tony Reedus. Stryker, who spent years touring with organ legend Jack McDuff, came to jazz by way of the blues. Gold, who seems equally influenced by Larry Young and Jimmy Smith, is an immensely capable and versatile player who can supply the grease when needed. A sense of effortless, swinging chemistry permeates the entire session. I must admit that when I saw Bacharach's “Close to Me” on the track list I was apprehensive, imagining a syrupy, sentimental cover of the pop tune. However, Stryker delivers such a bitter-sweet, soulful and melancholy performance, that he gives new depth to the song.

Live @ The Fat Cat is the latest CD from the Sheryl Bailey 3, which is an immensely talented trio consisting of guitarist Sheryl Bailey, organist Gary Versace and drummer Ian Froman. This album was recorded in November, 2005, at the Fat Cat, a popular Manhattan jazz club just a few blocks away from the Village Vanguard. Consisting of all original tunes by Bailey, this album diplays the skills of a solid working band that seems telepathically linked. The interplay between these musicians is a delight. Having honed out there own sound, this is a very modern sounding group. I can hear the influence of John Abercrombie on Bailey and that of Larry Young on Versace. What is heard is a sound that is both sophisticated and adventurous, it is intellectual and still swings like anything. (I play this CD a lot).

Stanton Moore III, the third release from drummer Stanton Moore was recorded in historic Preservation Hall when New Orleans was still reeling from the tragedy of the storm and the relief effort failures. This recording is one of the first flowers to sprout from the ashes. Moore stated in the liner notes, “I wanted to do something in Preservation Hall because of the sound in the room and the amazing vibe there. After Katrina, they weren’t having music [at Preservation Hall] and were waiting to reopen, so I saw that as an awesome and rare opportunity to spend a few days in there with a remote recording setup and make a record.” Stanton Moore III is undoubtedly the funkiest thing ever recorded at Preservation Hall in New Orleans. Featuring Moore on drums, Robert Walter on the Hammond B3 organ, Will Bernard on guitar, and guest artists Skerik on tenor saxophone and Mark Mullins on trombone. Reaching back to the sound of the Funky Meters this CD is about as southern fried as music gets. At times Will Bernard's bluesy guitar sounds like it owes more to Duane Allman than Kenny Burrell. Gary Versace delivers the grease and great gospel voicings. Moore proves his versatility, revealing rhythmic moods ranging from tumultuous tantrums to reverent tenderness. Over all, this album will blow your socks off, it's a groove thing.

If Joey DeFranceso is the new King of the Hammond B3, Tony Monaco could be the Crown Prince. He has monster chops and East to West is his finest CD to date. Monaco remains a Jimmy Smith disciple, firmly entrenched in the soul-jazz genre. He embraces the groove and plays with fiery and dazzling proficiency. For East to West Tony is joined by guitarist Bruce Forman (known for his work on the soundtrack of Clint Eastwood’s award-winning Million Dollar Baby) and drummer Adam Nussbaum. Monaco delivers an incredible performance with a tight group.

Saudades is a new release from a group called Trio Beyond consisting of drummer Jack DeJohnette, guitar wizard John Scofield, and organist Larry Goldings. Trio Beyond is a group of legendary musicians paying tribute to to another legend, Tony Williams' group Lifetime. In the late '60s, Lifetime was a trio led by Tony Williams featuring organist Larry Young, and guitarist John McLaughlin. Goldings had been contacted by Williams to join his band before his untimely death in 1997. This live recording of a 2004 London concert revisits and updates music from Lifetime's seminal recordings Emergency! and Turn it Over.

This year John Scofield also released Out Louder, that reunites him with Medeski, Martin and Wood, who served as his rhythm section for his highly acclaimed 1998 release A Go Go. Now billed as Medeski, Scofield, Martin and Wood, they have been filling auditoriums across the country with an odd collection of older guitar-heads and hordes of college students. This CD is perfect for a road trip, the funky, infectious grooves show that jazzmen can really rock.

Although not a trio, I cannot conclude without mentioning Joey DeFrancesco's latest CD Organic Vibe. Joey'snew album on Concord Records was a refreshing surprise. It seems that in the post Jimmy Smith world, Joey is ready to move beyond him and work on expanding the genre himself. He has teamed his regular rhythm section, consisting of swinging drummer Byron Landham and guitarist Jake Langley, with Ron Blake on saxes and flute and jazz legends Bobby Hutcherson and George Coleman. Adding vibes to an organ group may be rare, but not unique. Vibraphonist Lem Winchester recorded albums with Jack McDuff and Johnny “Hammond” Smith. Hutcherson himself recorded with Larry Young, Elvin Jones and guitarist Grant Green on Street of Dreams and also with John Patton's Let 'em Roll (which also featured Green). What really makes this so surprising is that Joey has composed material and a way of playing that is well outside the soul-jazz genre, with more complex arrangements. Also Joey really opens up the harmonies and gives his soloists plenty of space. This is a solid recording that should appeal to jazz fans (not just jazz-organ fans). It is a bold statement that opens a new chapter for Joey, and points to a promising future.