Joey DeFrancesco
Organic Vibes

When Charlie Haden is asked what it takes to become a good jazz musician, he invariably replies that being a great human being comes first.

In this recently released album, whose front man is Joey De Francesco, there is an air of relaxation and total “fairness” as well as respect among evident big calibers. The intense and tight dialogue between the instrumentalists invariably reflects on the quality and depth of the artistic proposal in question. The title “Organic Vibes” is a successful play on words that includes the organ, Joey's instrument, and the vibraphone (vibes), an instrument played by Bobby Hutcherson, one of the recognized masters in the field.

Abundant notes from the cover prepare you to enter the world of this music, aggressive and... 'bubbly' at the same time, contained in the album. Ron Blake on sax and flute, Jake Langley adds a couple of splashes of guitar here and there while Byron Landham strikes and marks the time on the drums. There is also a polished and melodic George Coleman on sax in tracks 4) and 6). It must be said that Joey is the official heir of Jimmy Smith, who recently passed away, and he honors the tradition worthily, playing the same 1959 Hammond B-3.

1) “The Tackle” opens the album with a fast rhythm and lets us understand how a jazz album, including the contribution of younger generations (all around 35/40) but also an old stage animal like Hutcherson, can sound modern and fresh. Joey, out of due respect, gives Hutcherson a predominant space in the entire album. Already in this track, Bobby's great melodic ability and wise handling of entire and fast clusters of notes alternating with more sustained notes can be identified. Sax and organ solo for a highway track.

2) “Little B’s Poem” is a more cheerful and quiet piece, opening with the theme performed by the flute. Interaction between instruments and very precise changes, with this aura of vibraphone acting as the protagonist in a complex yet smooth theme. Music from 2006. But also music from 2500, according to the writer. The flute solo after the vibes is very remarkable. I prefer not to speak of De Francesco, as he should only be listened to and savored. With a small glass of Malvasia in hand and the wife and children out of the house.

3) “I Thought About You” is a slow ballad where the sinusoidal flow of the tones generated by the longer notes of the vibraphone, which presents the theme, resonate in your earlobes and fill the room with warmth. Half of the track on vibes and half on organ, for a complementary contrast of right timbres. Heart-stopping mallet reprise for a closure of a small masterpiece of art.

4) “Somewhere in the Night” includes the first cameo of George Coleman with his melodic and calm sax. He's not Di Battista or Parker, but in a context like this, he doesn't clash. The center of the album, however, remains Hutcherson. It's time I confess my dismay and deep hatred toward De Francesco, who with his left hand manages (as any good organist should) to cover the absence of a good solid bass on the album. Guitar intervention in the style of Herb Hellis. Piece on a medium tempo.

5) “Down in the Hatch” raises the stakes and the mood: a theme very similar to Eddie Harris's “Freedom Jazz Dance” opens the doors to the performance of a driven and clear blues. Sax solo, modern guitar solo, very Mike Stern-like, with abundant chorus, and an organ solo of absolute class at the end.

6) “Speak Low” brings us a George Coleman in great shape for a very fast and enjoyable performance. Unbeatable organ background. Beautiful.

7) “Je Neane’s Dream” touches your amygdala with a dialogue between vibraphone and guitar during the presentation of a beautiful medium-slow theme that then unfolds into a truly significant vibraphone solo. With a physically challenging instrument like this, Hutcherson’s ability to maintain command compared to an organ, which could be overwhelming and engulf everything and everyone, is truly remarkable. Here, however, play experience, class, and sense of music. It flows abundantly and refreshingly.

8) “My Foolish Heart” is perhaps, for the writer, the highlight of the album, although it's objectively hard to truly say so with such a broad collection of pieces to listen to “back to back” on a night when you're in the mood. An inspired and pathos-filled vibraphone solo goes from beginning to end. A tribute to the great Hutcherson by Joey.

9) “Colleen” is a piece by De Francesco dedicated to his wife; truly beautiful. Theme performed by alto sax and guitar in unison leading to alto sax solos, guitar, and a wild organ until the end, with a theme reprise and end.

A beautiful album, which presents us with the particularly successful intertwining of two instruments well-rooted and present in the jazz tradition, albeit (wrongly) not very frequented by the international players' crowd. Perhaps bulkiness plays a role? On this subject, a small anecdote: Lester Young started playing as a drummer, but quickly switched to the saxophone when he realized that at the end of the night, saxophonists would quickly leave with the girls, instrument under their arm, while he had to dismantle the drums, load them into the car or taxi, take them home, etc. !!!!

Organic vibes, boys!!!!

Bobby Hutcherson
http://www.bluenote.com/artistpage.asp?ArtistID=3257&tab=1

Joey De Francesco
http://www.joeydefrancesco.com/index2.html

Jake Langley
http://www.almarecords.com/shtml/artists_sites/jake/jake_default.shtml

Ron Blake
http: //www.ronblakemusic.com/pages/bio.html

George Coleman
http://www.allaboutjazz.com/php/article.php?id=1078

Byron Landham
http://www.crisscrossjazz.com/artist/LandhamByron.html