Editorial Reviews
Todays Jazz Organists continue to evolve. Many are still lugging around vintage Hammond organs with Leslie tone cabinets but most are experimenting with the many light-weight clones that are currently on the market. Their styles are also breaking from tradition as more and more keyboard players jump on vintage organs and play them as if they were still on their clones. So, there is this interesting Jazz Organ mutation that is going on and the good news is that its appealing to a much wider audience.
Organist Matthew Kaminski’s day job during baseball season is as
organist for the Atlanta Braves, but outside of that he is a busy jazz
organist, and his third album for Chicken Coup finds his working group
captured at Atlanta’s Churchill Grounds club.
His quartet with saxophonist Will Scruggs, the fantastic guitarist Rod
Harris Jr. (who some may know for excellent Youtube transcription and
instructional videos) and drummer Chris Burroughs is augmented on six of
the ten pieces by vocalist Kimberly Gordon. As is also the case with
vocalist Alyssa Allgood’s tribute to the Blue Note oeuvre, “Out of the
Blue”, the addition of a vocalist to a traditional organ combo is a
welcome and fresh addition.
The vocalist’s stylized vocals are at their best on “April in Paris”,
also featuring a tasty Grant Green/George Benson infused turn by Harris
Jr, Duke Ellington’s “Just Squeeze Me”, and “If I Had You”. Kaminski
makes a wise choice to include some unusual fare in the organ group
configuration by reprising the Beach Boys’ “Sail on Sailor” which he
recorded previously on a studio album, making full use of Scruggs’
gorgeous tenor saxophone sound, and his passionate solos are highlights
throughout the set. Listen to his turn on Jimmy Smith’s classic blues,
“Midnight Special”, keeping the barbecue going. Kaminski’s basslines
are tight as well, his assured walking bass line in his unaccompanied
intro to Jack McDuff’s “A Real Goodun” carry more than a hint of the
signature McDuff slickness.
Furthermore, the atmosphere of the album is a throwback to classic
“live” dates with organ such as the aforementioned McDuff’s “Live!”
(Prestige, 1964) Jimmy Smith’s “The Boss” (Verve, 1968) or Grant Green’s
“Live at the Lighthouse” (Blue Note, 1972). Kaminski’s date is
relentlessly grooving and from the soul.
///////
Editorial Reviews
Todays Jazz Organists continue to evolve. Many are still lugging around vintage Hammond organs with Leslie tone cabinets but most are experimenting with the many light-weight clones that are currently on the market. Their styles are also breaking from tradition as more and more keyboard players jump on vintage organs and play them as if they were still on their clones. So, there is this interesting Jazz Organ mutation that is going on and the good news is that its appealing to a much wider audience.
Todays Jazz Organists continue to evolve. Many are still lugging around vintage Hammond organs with Leslie tone cabinets but most are experimenting with the many light-weight clones that are currently on the market. Their styles are also breaking from tradition as more and more keyboard players jump on vintage organs and play them as if they were still on their clones. So, there is this interesting Jazz Organ mutation that is going on and the good news is that its appealing to a much wider audience.
El trabajo diario del organista Matthew Kaminski durante la temporada de
béisbol es como organista de los Atlanta Braves, pero fuera de eso es
un ocupado organista de jazz, y su tercer álbum para Chicken Coup
encuentra su grupo de trabajo capturado en el club Churchill Grounds de
Atlanta.
Su cuarteto con el saxofonista Will Scruggs, el fantástico guitarrista
Rod Harris Jr (a quien algunos conocen por su excelente transcripción en
Youtube y sus videos instructivos) y el baterista Chris Burroughs, se
amplía en seis de las diez piezas de la vocalista Kimberly Gordon. Al
igual que en el caso del homenaje de la vocalista Alyssa Allgood a la
obra Blue Note, "Out of the Blue", la incorporación de un vocalista a
una combinación de órgano tradicional es una adición bienvenida y
fresca.
La voz estilizada de la vocalista está en su mejor momento el "April in
Paris", con un sabroso turno de Grant Green/George Benson infundido por
Harris Jr, "Just Squeeze Me" de Duke Ellington, y "If I Had You" (Si te
tuviera a ti). Kaminski toma la sabia decisión de incluir una tarifa
inusual en la configuración del grupo de órgano, reeditando "Sail on
Sailor" de Beach Boys, que grabó previamente en un álbum de estudio,
aprovechando al máximo el magnífico sonido del saxofón tenor de Scruggs,
y sus apasionados solos son los más destacados en todo el plató.
Escucha su turno con el clásico blues de Jimmy Smith, "Midnight
Special", que mantiene la barbacoa en marcha. Las líneas de bajo de
Kaminski también son estrechas, su línea de bajo segura en su
introducción no acompañada a "A Real Goodun" de Jack McDuff tiene más de
un indicio de la firma McDuff slickness.
Además, la atmósfera del álbum es un retroceso a las clásicas citas en
directo con órgano como "Live!" de McDuff. (Prestige, 1964) de Jimmy
Smith "The Boss" (Verve, 1968) o "Live at the Lighthouse" de Grant Green
(Blue Note, 1972). La cita de Kaminski es implacable e incesante.
www.matthewkaminski.com ...
Track Listings
1. Allisons Blues
2. Sail On Sailor
3. Kylu
4. She
5. Cecilia Does Your Mother Know Youre Out
6. Indifference
7. Until the Real Thing Comes Along
8. Turn to Stone
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