4 In any discussion of the Hammond organ, all praises must be given to Jimmy Smith, the acknowledged Allah of the B-3. The native of Norristown, Pa., single-handedly revolutionized the concept of jazz on that hulking 400-pound instrument in the same way that Charlie Parker altered the course of the saxophone. Smith exploded onto the national scene in 1956 with his audacious Blue Note debut, A New Sound, A New Star, on which he flaunted his dazzling right-hand technique and an inherent desire to burn. Smith didn't always play that way; prior to that turning point in his career he was the kind of organ player who was very much under the influence of his primary inspiration, Wild Bill Davis. The Fantastic Jimmy Smith (Empire Musicwerks 39012-2; 46:21), a rarity from the vaults of Bruce Records, documents the organist in his developing stage when he was a member of the Sonotones, a local Philly group led by singing drummer Don Gardner, between 1953 and 1955. Smith takes a bit of a backseat to honking tenor saxophonist Al Cass on the 16 R&B-flavored tracks here. The burn is still present in his playing, particularly on uptempo instrumental tracks like "Jimmy's Jam," "Jughead" and "Jimmy's Swing." But even on those romper-stompers he doesn't break free of Wild Bill's locked-hands approach and sail off on those multinote right-hand excursions that would later become a Smith trademark. Gardner lends his velvety Herb Jeffries-styled vocals to two doo-wop numbers, "Tell Me" and "I Hear a Rhapsody," and the overly dramatic ballad "I'll Walk Alone." This disc hardly measures up expectations of what Smith can do, but it does provide a missing chapter for collectors and completists. true 21 2007-06-07T14:05:44-04:00 13099 58 200205 true 0 68 2002-05-01T00:00:00-04:00

In any discussion of the Hammond organ, all praises must be given to Jimmy Smith, the acknowledged Allah of the B-3. The native of Norristown, Pa., single-handedly revolutionized the concept of jazz on that hulking 400-pound instrument in the same way that Charlie Parker altered the course of the saxophone. Smith exploded onto the national scene in 1956 with his audacious Blue Note debut, A New Sound, A New Star, on which he flaunted his dazzling right-hand technique and an inherent desire to burn. Smith didn't always play that way; prior to that turning point in his career he was the kind of organ player who was very much under the influence of his primary inspiration, Wild Bill Davis. The Fantastic Jimmy Smith (Empire Musicwerks 39012-2; 46:21), a rarity from the vaults of Bruce Records, documents the organist in his developing stage when he was a member of the Sonotones, a local Philly group led by singing drummer Don Gardner, between 1953 and 1955. Smith takes a bit of a backseat to honking tenor saxophonist Al Cass on the 16 R&B-flavored tracks here. The burn is still present in his playing, particularly on uptempo instrumental tracks like "Jimmy's Jam," "Jughead" and "Jimmy's Swing." But even on those romper-stompers he doesn't break free of Wild Bill's locked-hands approach and sail off on those multinote right-hand excursions that would later become a Smith trademark. Gardner lends his velvety Herb Jeffries-styled vocals to two doo-wop numbers, "Tell Me" and "I Hear a Rhapsody," and the overly dramatic ballad "I'll...

2009-03-02T00:22:57-05:00

4 Joey DeFrancesco is a direct descendant from the Jimmy Smith school of single-note burn. The 30-year-old has proven himself time and time again since going out on tour with Miles Davis in 1988 at the ripe old age of 17. His only shortcoming over the years is that he tends to lean a bit too much on his awesome technique. Yet with the recent passing of Charles "The Mighty Burner" Earland, DeFrancesco remains the single most exciting organ soloist on the scene-next to Mr. Smith himself, of course. On DeFrancesco's latest, Singin' and Swingin' (Concord CCD-4861-2; 60:44), the organist whips out his wicked Smith-inspired runs on a big-band vocal program that aspires to the Sinatra/Count Basie collaborations of the early '60s. DeFrancesco has sung before and proves to be quite the groovy crooner on hip renditions of Cole Porter's "You'd Be So Nice to Come Home To" and Sinatra staples like "Mack the Knife," "In the Wee Small Hours" and "I Thought About You." His clear diction and soulful phrasing on Irving Berlin's "They Say It's Wonderful" and "Let Me Love You Tonight" sound more inspired by Johnny Hartman than Sinatra. On the instrumental tip, DeFrancesco pulls out the burn on "Mr. Dennis Houlihan," "The Sidewalk Is Wild" (his spirited reworking of Jimmy Smith's hit "Walk on the Wild Side") and a scintillating organ-trio version of "I'm Getting Sentimental Over You." And he goes to church on a gospel rendition of "Danny Boy," recalling an earlier version of that traditional number by organ elder Jimmy McGriff. Ray Brown walks the band of West Coast studio aces through the jaunty shuffles like "One Mint Julep" and "Kansas City," then adds to the funky-butt vibe of the N'awlins flavored "Did You Hear Him Holler?" DeFrancesco's playing and jazzy vocal demeanor may be too hip for massive crossover appeal (my father, who worships Sinatra, probably couldn't get with this). But his vocals are real, which makes him either the playingest singer on the scene or the singingest player on the scene. Either way, he's one prodigious cat. true 21 2007-06-07T14:05:44-04:00 13100 58 200205 true 0 68 2002-05-01T00:00:00-04:00

Joey DeFrancesco is a direct descendant from the Jimmy Smith school of single-note burn. The 30-year-old has proven himself time and time again since going out on tour with Miles Davis in 1988 at the ripe old age of 17. His only shortcoming over the years is that he tends to lean a bit too much on his awesome technique. Yet with the recent passing of Charles "The Mighty Burner" Earland, DeFrancesco remains the single most exciting organ soloist on the scene-next to Mr. Smith himself, of course. On DeFrancesco's latest, Singin' and Swingin' (Concord CCD-4861-2; 60:44), the organist whips out his wicked Smith-inspired runs on a big-band vocal program that aspires to the Sinatra/Count Basie collaborations of the early '60s. DeFrancesco has sung before and proves to be quite the groovy crooner on hip renditions of Cole Porter's "You'd Be So Nice to Come Home To" and Sinatra staples like "Mack the Knife," "In the Wee Small Hours" and "I Thought About You." His clear diction and soulful phrasing on Irving Berlin's "They Say It's Wonderful" and "Let Me Love You Tonight" sound more inspired by Johnny Hartman than Sinatra. On the instrumental tip, DeFrancesco pulls out the burn on "Mr. Dennis Houlihan," "The Sidewalk Is Wild" (his spirited reworking of Jimmy Smith's hit "Walk on the Wild Side") and a scintillating organ-trio version of "I'm Getting Sentimental Over You." And he goes to church on a gospel rendition of "Danny Boy," recalling an earlier version of that traditional number by organ elder Jimmy McGriff....

2009-03-02T00:22:57-05:00

4 One of the bluesiest of the organ elders still active on the scene, Reuben Wilson lays out an earthy program of groovers on Organ Blues (Jazzateria 20309-2; 56:25). With Bernard Purdie providing the rock-steady backbeat, Grant Green Jr. echoing some of his daddy's hip guitar lines and Melvin Butler adding soulful tenor sax, Wilson wails with real-deal authority on the shuffle "Blues for McDuff," on the slow blues "After Hours" and on a midtempo rendition of the Percy Mayfield classic "Please Send Me Someone to Love." His "Old Time Shuffle Blues" is strictly old school-an ebullient, good-time groove paced by Purdie's inimitable shuffle beat-and he gets knee-deep in the funk on Jimmy Smith's "Back at the Chicken Shack." There's more upbeat toe-tappin' on his version of the R&B classic "Honey Dripper," then Wilson and company conjure up a late-night atmosphere on their sensual reading of "Willow Weep for Me." The collection closes on an up note with a bouncing, jaunty shuffle take on James Cox's "Nobody Knows You When You're Down and Out," featuring some of Wilson's most dynamic testifying on the B-3. After 40 years of doin' it to death, Wilson still conveys an infectious spirit of joy in his playing, which is in great supply on Organ Blues. true 21 2007-06-07T14:05:44-04:00 13101 58 200205 true 0 68 2002-05-01T00:00:00-04:00

One of the bluesiest of the organ elders still active on the scene, Reuben Wilson lays out an earthy program of groovers on Organ Blues (Jazzateria 20309-2; 56:25). With Bernard Purdie providing the rock-steady backbeat, Grant Green Jr. echoing some of his daddy's hip guitar lines and Melvin Butler adding soulful tenor sax, Wilson wails with real-deal authority on the shuffle "Blues for McDuff," on the slow blues "After Hours" and on a midtempo rendition of the Percy Mayfield classic "Please Send Me Someone to Love." His "Old Time Shuffle Blues" is strictly old school-an ebullient, good-time groove paced by Purdie's inimitable shuffle beat-and he gets knee-deep in the funk on Jimmy Smith's "Back at the Chicken Shack." There's more upbeat toe-tappin' on his version of the R&B classic "Honey Dripper," then Wilson and company conjure up a late-night atmosphere on their sensual reading of "Willow Weep for Me." The collection closes on an up note with a bouncing, jaunty shuffle take on James Cox's "Nobody Knows You When You're Down and Out," featuring some of Wilson's most dynamic testifying on the B-3. After 40 years of doin' it to death, Wilson still conveys an infectious spirit of joy in his playing, which is in great supply on Organ Blues.

2009-03-02T00:22:57-05:00

4 The under-recognized B-3 veteran Gene Ludwig gets a fine showcase on Keep That Groove Going! (Milestone MCD-9319-2; 55:26). The headliners, however, are two blustery septuagenarian tenor saxophonists, Plas Johnson and Red Holloway, and this spirited session, produced by Bob Porter, also features stellar sidemen in drummer Kenny Washington and guitarist Melvin Sparks. Ludwig distinguishes himself as an old-school burner on the uptempo title track and Holloway's waltz-time blues "Bretheren!" He provides the harmonic glue on a jumping rendition of Coleman Hawkins' "Stuffy," comping slyly behind the two-tenor tandem before breaking out for a stirring solo of his own, and he lays a velvety cushion behind Holloway's robust tenor on a rhapsodic reading of the ballad "Serenade in Blue" before launching into his most dynamic solo on the recording. A cover of Arnett Cobb's signature piece, "Go Red Go," has Ludwig grooving steadily behind the raucous call-and-response of the two honkin' kindred spirits. And if the blues is a proving ground then Ludwig passes with flying colors on Johnson's slow moving "Pass the Gravy." The organist provides his most dramatic accompaniment on the melancholy minor-key ballad "Cry Me a River," which features a majestic, vocal-oriented reading on tenor by Johnson. And he blithely swings the two tenormen home on their casual, conversational reading of "Dream a Little Dream of Me." It's been nearly 40 years since Gene Ludwig recorded some Sonny Stitt sides for Prestige. Like Reuben Wilson, he continues to do his thing year in and year out without much fanfare. With his fine showing on this superb recording Ludwig should gain the recognition that has eluded him for a long time. true 21 2007-06-07T14:05:44-04:00 13102 58 200205 true 0 68 2002-05-01T00:00:00-04:00

The under-recognized B-3 veteran Gene Ludwig gets a fine showcase on Keep That Groove Going! (Milestone MCD-9319-2; 55:26). The headliners, however, are two blustery septuagenarian tenor saxophonists, Plas Johnson and Red Holloway, and this spirited session, produced by Bob Porter, also features stellar sidemen in drummer Kenny Washington and guitarist Melvin Sparks. Ludwig distinguishes himself as an old-school burner on the uptempo title track and Holloway's waltz-time blues "Bretheren!" He provides the harmonic glue on a jumping rendition of Coleman Hawkins' "Stuffy," comping slyly behind the two-tenor tandem before breaking out for a stirring solo of his own, and he lays a velvety cushion behind Holloway's robust tenor on a rhapsodic reading of the ballad "Serenade in Blue" before launching into his most dynamic solo on the recording. A cover of Arnett Cobb's signature piece, "Go Red Go," has Ludwig grooving steadily behind the raucous call-and-response of the two honkin' kindred spirits. And if the blues is a proving ground then Ludwig passes with flying colors on Johnson's slow moving "Pass the Gravy." The organist provides his most dramatic accompaniment on the melancholy minor-key ballad "Cry Me a River," which features a majestic, vocal-oriented reading on tenor by Johnson. And he blithely swings the two tenormen home on their casual, conversational reading of "Dream a Little Dream of Me." It's been nearly 40 years since Gene Ludwig recorded some Sonny Stitt sides for Prestige. Like Reuben Wilson, he continues to do his thing year in and year out without much fanfare. With his fine showing on...

2009-03-02T00:22:57-05:00

4 On the funky side of things is the Grover Washington Jr. compilation Discovery (Prestige PRCD-11020-2; 69:09). The late tenor-sax great originally recorded these tracks between 1970 and 1971 in his first commercial recording sessions as a sideman for producer Bob Porter and Prestige Records. The seven dates that Grover participated in during that time span were led by organists Charles Earland, Leon Spencer and Johnny "Hammond" Smith and guitarists "Boogaloo" Joe Jones and Melvin Sparks. The 27-year-old saxophonist definitely makes his presence felt on the nine tracks here with his big, rich tone and aggressive horn attack. Organ-ically speaking, the sadly underrecognized sideman Butch Cornell makes the most impressive showing here on the B-3, turning in dynamite performances on a funky "Sunshine Alley," the funky boogaloo "Inside Job" and an earthy instrumental take on Carole King's "I Feel the Earth Move," and he testifies with unbridled passion on the slow churchy blues "Fadin'." But it's the Mighty Burner, Earland, who has the final say on this collection with his show-stopping extended jam on Benny Golson's "Killer Joe," recorded live at the Key Club in Newark, N.J., for the Living Black! album (Washington's first Prestige date). Compilation producer Todd Barkan was wise to put that track last. Because, as B-3 maven Bob Porter so often (and rightly) points out, "Nobody follows the Mighty Burner." Amen. true 21 2007-06-07T14:05:44-04:00 13103 58 200205 true 0 68 2002-05-01T00:00:00-04:00

On the funky side of things is the Grover Washington Jr. compilation Discovery (Prestige PRCD-11020-2; 69:09). The late tenor-sax great originally recorded these tracks between 1970 and 1971 in his first commercial recording sessions as a sideman for producer Bob Porter and Prestige Records. The seven dates that Grover participated in during that time span were led by organists Charles Earland, Leon Spencer and Johnny "Hammond" Smith and guitarists "Boogaloo" Joe Jones and Melvin Sparks. The 27-year-old saxophonist definitely makes his presence felt on the nine tracks here with his big, rich tone and aggressive horn attack. Organ-ically speaking, the sadly underrecognized sideman Butch Cornell makes the most impressive showing here on the B-3, turning in dynamite performances on a funky "Sunshine Alley," the funky boogaloo "Inside Job" and an earthy instrumental take on Carole King's "I Feel the Earth Move," and he testifies with unbridled passion on the slow churchy blues "Fadin'." But it's the Mighty Burner, Earland, who has the final say on this collection with his show-stopping extended jam on Benny Golson's "Killer Joe," recorded live at the Key Club in Newark, N.J., for the Living Black! album (Washington's first Prestige date). Compilation producer Todd Barkan was wise to put that track last. Because, as B-3 maven Bob Porter so often (and rightly) points out, "Nobody follows the Mighty Burner." Amen.

2009-03-02T00:22:57-05:00

4 San Diego native Robert Walter, a founding member of the Greyboy Allstars, is currently making inroads on the jamband scene with his own slamming, grooving brand of B-3. That danceable sound is best represented on There Goes the Neighborhood (Premonition 66917 90755 2 5; 49:07) by the super-charged title track, a super-funky rendition of "Wade in the Water," a take on Willie Dixon's "My Babe" and "The Tease." Walter is ably supported in his funky cause by a cast of ringers including the great bassist Chuck Rainey, drummer Harvey Mason, guitarist Phil Upchurch and tenor saxman Red Holloway. Walter also has a nice Dr. John-ish turn on piano on the N'awlins flavored "Swap Meet." true 21 2007-06-07T14:05:44-04:00 13104 58 200205 true 0 68 2002-05-01T00:00:00-04:00

San Diego native Robert Walter, a founding member of the Greyboy Allstars, is currently making inroads on the jamband scene with his own slamming, grooving brand of B-3. That danceable sound is best represented on There Goes the Neighborhood (Premonition 66917 90755 2 5; 49:07) by the super-charged title track, a super-funky rendition of "Wade in the Water," a take on Willie Dixon's "My Babe" and "The Tease." Walter is ably supported in his funky cause by a cast of ringers including the great bassist Chuck Rainey, drummer Harvey Mason, guitarist Phil Upchurch and tenor saxman Red Holloway. Walter also has a nice Dr. John-ish turn on piano on the N'awlins flavored "Swap Meet."

2009-03-02T00:22:57-05:00

4 On its sophomore outing, Next (Blue Note 7243 5 35869 2 8V; 68:42), groovemeisters Soulive dip into the hip-hop pool while still pledging allegiance to soul-jazz. Guitarist Eric Krasno has still got his Grant Green-Wes Montgomery mojo working. Organist Neal Evans continues to layer on splashes of B-3 in the tradition of role models like Charles Earland, Jimmy McGriff and Jimmy Smith, and his brother, Alan Evans, is still kicking like the funky drummer he is. The difference on this follow-up to last year's Doin' Something is the presence of alto saxophonist Sam Kininger, who blends the irrepressibly funky spirit of Maceo Parker with the more exploratory excursions of Bennie Maupin or Eddie Harris in his electric phase. The strongest tracks here are "Flurries," "Kalen" and the frantic "Whatever It Is." Rapper Black Thought of the Roots makes a guest appearance on the standout hip-hop track "Clap!" and singer Amel Larrieux makes a soulful impression on the delicate ballad "I Don't Know Why." The record closes out with a remix of "Bridge to 'Bama" from Doin' Something by producer/DJ Hi-Tek and features rapper Talib Kweli. A collaboration with pop star Dave Matthews on a smooth, soulful rendition of Ani DiFranco's "Joyful Girl" may indeed help Soulive cross over to a new audience, but the rest of this funky mess is bound to appeal to the group's core following of jam-band funkateers who ate up Doin' Something. true 21 2007-06-07T14:05:44-04:00 13105 58 200205 true 0 68 2002-05-01T00:00:00-04:00

On its sophomore outing, Next (Blue Note 7243 5 35869 2 8V; 68:42), groovemeisters Soulive dip into the hip-hop pool while still pledging allegiance to soul-jazz. Guitarist Eric Krasno has still got his Grant Green-Wes Montgomery mojo working. Organist Neal Evans continues to layer on splashes of B-3 in the tradition of role models like Charles Earland, Jimmy McGriff and Jimmy Smith, and his brother, Alan Evans, is still kicking like the funky drummer he is. The difference on this follow-up to last year's Doin' Something is the presence of alto saxophonist Sam Kininger, who blends the irrepressibly funky spirit of Maceo Parker with the more exploratory excursions of Bennie Maupin or Eddie Harris in his electric phase. The strongest tracks here are "Flurries," "Kalen" and the frantic "Whatever It Is." Rapper Black Thought of the Roots makes a guest appearance on the standout hip-hop track "Clap!" and singer Amel Larrieux makes a soulful impression on the delicate ballad "I Don't Know Why." The record closes out with a remix of "Bridge to 'Bama" from Doin' Something by producer/DJ Hi-Tek and features rapper Talib Kweli. A collaboration with pop star Dave Matthews on a smooth, soulful rendition of Ani DiFranco's "Joyful Girl" may indeed help Soulive cross over to a new audience, but the rest of this funky mess is bound to appeal to the group's core following of jam-band funkateers who ate up Doin' Something.

2009-03-02T00:22:57-05:00

4 Organist John Novello of the power trio Niacin takes a decidedly different approach to the Hammond B-3 on Time Crunch (Magna Carta MA-9059-2; 56:10). Joined by heavyweights like drummer Dennis Chambers and monster rock bassist Billy Sheehan (from David Lee Roth and Mr. Big fame), Novello whips up raw fusion fury like some interesting amalgam of Brian Auger and the Trinity, Tony Williams Lifetime, Yes and Emerson, Lake & Palmer. The opener, "Elbow Grease," is a ferocious cyclone of twisting unison lines, dizzying sextuplets and double bass drum thumping. And the pace only picks up from there with throbbing odes like "Damaged Goods," "Stone Face" and the volcanic title track. The whirlwind "Daddy Long Leg" with its rapid-fire exchanges of eights might recall Return to Forever in its heyday. A surprise is Niacin's faithful rendition of King Crimson's heavier-than-heavy signature piece from 1974, "Red." And they also turn in a suitably blazing rendition of Jan Hammer's "Blue Wind." Fusion fans, chops mongers and speed freaks will definitely dig Niacin's super-charged third outing. true 21 2007-06-07T14:05:44-04:00 13106 58 200205 true 0 68 2002-05-01T00:00:00-04:00

Organist John Novello of the power trio Niacin takes a decidedly different approach to the Hammond B-3 on Time Crunch (Magna Carta MA-9059-2; 56:10). Joined by heavyweights like drummer Dennis Chambers and monster rock bassist Billy Sheehan (from David Lee Roth and Mr. Big fame), Novello whips up raw fusion fury like some interesting amalgam of Brian Auger and the Trinity, Tony Williams Lifetime, Yes and Emerson, Lake & Palmer. The opener, "Elbow Grease," is a ferocious cyclone of twisting unison lines, dizzying sextuplets and double bass drum thumping. And the pace only picks up from there with throbbing odes like "Damaged Goods," "Stone Face" and the volcanic title track. The whirlwind "Daddy Long Leg" with its rapid-fire exchanges of eights might recall Return to Forever in its heyday. A surprise is Niacin's faithful rendition of King Crimson's heavier-than-heavy signature piece from 1974, "Red." And they also turn in a suitably blazing rendition of Jan Hammer's "Blue Wind." Fusion fans, chops mongers and speed freaks will definitely dig Niacin's super-charged third outing.

2009-03-02T00:22:57-05:00