Persson To Persson

Jan Persson (1943-2018) –

Danish photographer Jan Persson passed away on November 15. He worked for Downbeat, Melody Maker and various Danish papers since 1962. His work mainly centered around visiting jazz musicians in Copenhagen, one of the most jazz-minded cities in Europe where numerous legendary American artists came to perform or live. Persson photographed pretty much everyone from Louis Armstrong, Duke Ellington, Thelonious Monk, Dexter Gordon to Chet Baker, Michael Brecker and Roy Hargrove. In the late sixties, Persson also focused on visiting rock artists and groups like Bob Dylan, The Beatles and Cream.

Persson’s photos are collected on the website of the Center For Danish Jazz History. Persson’s photos, instead of the more stylish pictures of Francis Wolff, have a kind of rugged quality, catching the artists in performance but also in ordinary, off-stage situations. Find the website here. It’s fantastic to browse through the collection.

See a couple of pictures below:

Clockwise from left to right: Oscar Peterson; Hank Mobley; Bill Evans

Clockwise from left to right: Charles Mingus & Ben Webster; Elvin Jones Trio with Joe Farrell & Jimmy Garrison; Don Cherry

Mister Ben’s Tempo

BEN DIXON (1934-2018) –

Drummer Ben Dixon sadly passed away on November 8. Flophouse reached out to Pete “Doodlin’ Lounge’ Fallico, who posted a RIP on Facebook. Through the grapevine, Fallico heard about someone who attended the funeral: ‘Apparently muslims bury or cremate a body the next day after death. Ben was a quiet person who did not have a web presence, hence the lack of information.’

Dixon was one of the great organ jazz specialists. He was born in Gaffney, South Carolina and grew up in Washington D.C. and Buffalo, NY. Early in his career, Dixon played with Buck Hill, Shirley Horn and Webster Young. During Dixon’s three-year stint with the popular r&b singer Lloyd Price, Dixon met John Patton, whom he persuaded to take up the Hammond. Introduced by Lou Donaldson to Blue Note’s Alfred Lion, Dixon and Patton (plus guitarist Grant Green) went on to form a prolific tandem on many of the label’s now-classic soul jazz albums of the early and mid-sixties. He quit the music business in 1967 but resurfaced in 1997 with The Real Jazz Quartet. His only album as a leader, Say Yes To Your Best including organist Adam Scone was released in 2000. Dixon’s discography as a sideman includes a series of albums with Lou Donaldson, Grant Green and John Patton, George Braith’s Laughing Soul, Ray Draper’s Tuba Sounds, Stanley Turrentine’s A Chip Off The Old Block and Baby Face Willette’s Face To Face.

The work of Ben Dixon is textbook material for aspiring soul jazz drummers. Playing in an organ group requires some adjustments and a whole lotta groove. Ben Dixon’s meaty hi-hat on the 2 and 4 constituted a tight pocket. His bass and ride cymbal locked tight with the organist’s bass lines. He accented changes, turnarounds, bridges and shout choruses with press rolls, but not excessively, so as not to disturb the flow and uses lively snare and tom figures to inspire the soloists. This way his accompaniment is an arc of tension, more tension, heat, release… Throughout, Dixon swings, grooves, makes sure those toes keep-a-tappin’. His shuffle was rock-solid. Dixon also wrote a number of catchy tunes like Cantaloupe Woman, Pig Foot and Fat Judy.

Check out Ben Dixon’s style on Brother Jack McDuff’s Whap!, Grant Green’s Miss Ann’s Tempo and Lou Donaldson’s Funky Mama.

Harold Vick’s Our Miss Brooks and John Patton’s Fat Judy. Picture of Ben Dixon.

Ben Dixon was 84 years old.

(Thanks Pete Fallico of The Doodlin’ Lounge and Jazz Organ Fellowship)

Roy Hard Groove

ROY HARGROVE (1969-2018) –

A shiver went through the jazz world with the passing of trumpeter Roy Hargrove on November 2. Hargrove, who suffered from kidney failure, died of cardiac arrest in the hospital. He was 49. Few carried on the torch of real jazz as brilliantly, fiery and sensitively as Hargrove. When touring in Europe, Hargrove regularly performed in jazz club Porgy & Bess in Terneuzen, The Netherlands, birthplace of yours truly. Hargrove and Porgy’s management had a special rapport since the early nineties. Like many, Porgy is saddened by the loss of the acclaimed trumpet and flugelhorn player. Read an overview of comments on Hargrove’s passing below.

Trumpeter Nicholas Payton on his website:

“Y’all don’t even understand. I lost my spirit brother today. I remember I first started hearing about this dude when I was around 12-years-old. When I would hang out and get lessons from Wynton Marsalis, he would tell me about this cat around my age from Texas by the name of Roy Hargrove who was a prodigy like me. I didn’t meet him face-to-face for another 4 years or so, but as you can imagine, the excitement built in my mind. Who is this little mothafucka playing as much horn as me? In my mind, I was the only one. When we first met, I felt like I had reunited with my long, lost soul brother. I felt so much love for him instantly. Much in the same way I locked eyes with my son for the first time, there was a kindred feeling of family present from the jump.

Years later, Wynton had this series he started at Lincoln Center called the Battle Royale. He pit Roy and I against each other on the old standard called “Just Friends.” How ironic. Haha… Anyway, if you can find that tape anywhere, you’ll hear perhaps the most heated trumpet battle you’ve ever heard in your life. We loved each other, but we were going for blood. The vibe in the room was electric and it was very clear who the next two trumpet stars on the scene were to be.

That event signaled the start of the music industry doing everything in its power to create of web of conflict between the two of us. And like brothers, we fought over everything: the same record company, the same gigs, the same women. We kept each other in check and made each other our best selves. I couldn’t go anywhere without him right there. Even my big Grammy night when I thought I would one up him, he won his first Grammy the same night. That little mothafucka! lol

There aren’t many relationships like ours in the world. The closest I can think of is that of Magic Johnson and Isiah Thomas, or even better, Phife and Tip. The world got the best of the best because we both existed. And now he’s gone. It’s just me and it hurts beyond belief.

With every note, this brother dripped soul. In every phrase, he never let you forget you were listening to a Black man playing that horn. He inspires me to no end.”

Bassist Christian McBride on Instagram:

“I have no words over the loss of my dear brother of 31 years. We played on a lot of sessions together, laughed a lot together, bickered on occasion – and I wouldn’t change our relationship for anything in the world. Bless you, Roy Hargrove.”

(Parker’s Mood, 1995; Roy Hargrove’s Crisol, Habana, 1997; Earfood, 2008)

Photographer Nina D’Alessandro on Instagram:

“I remember being at Clark Terry’s house one night when Clark and Al Grey got home from the road. We were sitting around the kitchen table and Clark told us about a fourteen-year old trumpet player he’d just heard down in Texas. ‘Remember his name, Roy Hargrove,’ he said. ‘That young one is a Chosen One. He came into this world anointed.”

Wynton Marsalis on his website:

“We lost a true missionary and minister of our music this past week in Roy Hargrove.

Although he faced an uphill battle with his health over the years, it didn’t deter him or even slow him down from doing what he was undoubtedly born to do – minister through music. That he did until the end.

I first met Roy Hargrove in 1986 at Booker T. Washington High School for the Performing Arts in Dallas, Texas. He was a 16 years old phenom playing lead trumpet parts with incredible accuracy and also improvising original solos with gleaming nuggets of melody swimming in harmonic sophistication with generous helpings of downhome blues and soul.

Roy played piano, wrote songs, sang and had a great sense of humor. To top it all off, he possessed an unerring sense of time, in the pocket at any tempo fast or slow. Kids in the school just loved him and were all excited about his great musicianship and about the magic they experienced everyday listening to him and playing with him.

He played with an unusual and infectious combination of fire, honesty and sweet innocence. The first time I heard him it was clear, he was an absolute natural with phenomenal ears, a great memory and tremendous dexterity on our instrument.

He was diligent about his playing technically and emotionally. Playing with an uncommon depth of feeling with a very developed internal sense of that which is unspeakable about the intimate. A Roy ballad was always exquisite.

Just as many in the continuum of our music poured information and aspirations into him, Roy gave selflessly to others, particularly to young musicians. He did everything he could to ensure that the circle would not be broken, at least not on his watch.

His participation on the scene in New York most reminded me of Woody Shaw. Roy continued Woody’s tradition of sitting in all around town and of playing, of encouraging everyone to play (not just with incredible solos), but with knowledge of songs and with advice and with just the feeling of “we are in this together and this is worth doing, and it’s valuable.”

While I am truly saddened as I write this, I am also encouraged by the life and the legacy that Roy left. He meant it.

Rest in Peace Baby.”

(Bobby Watson & Horizon, No Question About It, 1988 debut as sideman; Johnny Griffin, Chicago, New York, Paris, 1994; Johnny O’Neal, *In The Moment, 2017, last recording)

Guitarist Dan Nicholas on Facebook:

“Thoughts keep turning to Roy Hargrove and what we’ve lost.

Roy Hargrove made the scene. He showed up. As soon as his gig was over, he was out there at the next spot, hanging, playing, teaching, sharing, representing.

Roy Hargrove corrected other musicians when something was wrong or inappropriate to the music. He didn’t “vibe” them, he shared his knowledge and experience in an attempt to have the music better served. This is the furthest thing from hostility. It’s generosity. The few who take the effort and energy to do this make our music better.

Roy Hargrove dressed immaculately. Even if he was wearing jeans and Nikes, they were the right jeans and the right Nikes, and they complimented the rest of his outfit. He carried himself with grace and poise, and looked beautiful walking on stage before playing a single note. This helped draw audiences to him and made them more open to receiving his musical message.

Roy Hargrove led BANDS. His music was arranged. His sets had an arc, they had variety, they had drama, they went from one song right into the next, no bullshiting, no chance for the spell to be broken.

Roy Hargrove played standards. He loved the American Songbook and he dug deep into it.

Roy Hargrove played BALLADS. There’s a lot of them out there besides Body and Soul, many of the greatest songs ever written.

Roy Hargrove played MELODY. Sometimes just melody.

Roy Hargrove could play in any bag, any style, it was all just music to him. But when he spoke about learning, he continued to speak of Bird, Dizzy, Monk, Bud Powell, all of whom he felt were overlooked, and whose music he described as “the fabric of jazz.”

Roy Hargrove was all about the music. He didn’t seem to have much of an ego, at least as a musician. In a world of mercenaries out for themselves, he was a soldier in service to the kingdom of music. And music gave back to him unfailingly.”

(Roy Hargrove, 2017; Christian McBride & Roy Hargrove, late 80s; Roy Hargrove, Porgy & Bess, Terneuzen, early 90s)

Pinheiro, Ineke & Cavalli Triplicity (Daybreak/Challenge 2018)


The Portuguese guitarist Ricardo Pinheiro gets inspiration from many sources, even Ennio Morricone. But it’s the way Pinheiro and his mates Massimo Cavalli and Eric Ineke treat standards that makes Triplicity remarkable.

Pinheiro, Ineke & Cavalli - Triplicity


Ricardo Pinheiro (guitar), Massimo Cavalli (bass), Eric Ineke (drums)


on November 25, 2017 at Estudio Vale De Lobos, Lisbon, Portugal


as DBCHR 75227 in 2018

Track listing

Blues Just Because
Cinema Paradiso
If I Should Lose You
Along Came Betty
You’ve Changed
Retrato Em Branco E Preto
When You Wish Upon A Star

In a trio without piano, doing without the harmonic safety rings of the pianist, the jazz musician will have to dig deep into the well of his creativity. Sonny Rollins did a number of iconic recordings, notably Live At The Village Vanguard. Motion by Lee Konitz is a key album. There’s the output of Elvin Jones with Joe Farrell and Jimmy Garrison. The common denominator of these records is, of course, drummer Elvin Jones, one of Eric Ineke’s greatest inspirations. Switching to guitar players, Barney Kessel, Jimmy Raney, Jim Hall, Kenny Burrell, Ed Bickert and Bill Frisell released a number of challenging albums in their lifetime. Avant-gardists like Arthur Blythe had their say in the trio concept sans piano as well. Nowadays, even if not everybody is yelling ‘Stein go away!’, the practice is fairly common. But an affair that is interesting from start to finish, is, more or less, fairly unusual.

Perhaps their European roots are responsible for the fact that guitarist Pinheiro, drummer Ineke and bassist Cavalli find few obstacles during their search of still newer land, just like fellow travellers Toots Thielemans, Elek Bacsik or Enrico Rava. A coherent narrative runs through the whole 46 minutes of Triplicity, courtesy of a Portuguese, Dutchman and Italian who, in that order, are sincere and intriguing, sublime and responsive, strong and lyrical. They have been associated for a number of years now and have also recorded Is Seeing Believing? with Dave Liebman. The sound of Pinheiro has a metallic edge, is perhaps like John Scofield’s not the sweetest and warmest, but stands out. His playing is both angular and expressive, synonymous with Portuguese coffee, that gives one a solid kick before revealing its many exciting flavors. Cavalli is solid but he also likes to dance, placing frivolous and inspiring figures behind the stories of his company.

Ineke is grounded in the American tradition. He draws from his experience of playing with myriad American legends and a lifelong passion for heroes like Elvin Jones, Philly Joe Jones, Kenny Clarke, but is very hip and prolific, getting a kick out of cooperating with colleagues of all nationalities and ages and still eager to step out of his comfort zone. Perhaps his North-European background is most evident in the way he neatly puts all the ideas that flow around into context, meticulous like the tower controller at Schiphol Airport. Contrary to airport officials, however, Ineke allows himself a lot of freedom to color in the lines, is subtle or heated dependent on the situation, and always melodic.

Pinheiro carries the embellishments and understated passion from his Brazilian/Portuguese forebears, and also a bit of Django Reinhardt’s pace and clarity, over to his style, especially during Pinheiro’s Blues Just Because and Antonio Carlos Jobim’s Retrato Em Branco E Preto. Partly because of this, the tunes are more closely linked than one would generally assume. Retrato develops from a dark-hued bowed bass section into an angular folk romp with a cinematic character. It’s easy to imagine a little movie scene in the countryside, a tipsy old couple slowdancing in the moonlight, gyspy children playing with a cat’s tail, a woman with a tear in her eye that runs down through the gullies of her cheek… Blues Just Because is a Now The Time-ish melody, boprocked considerably by the group and soloist Pinheiro, whose integration of crunchy chords adds to his multiplex of animated lines. Pinheiro even found time to pay attention to the last chord. It’s a lurid one similar to the way Eric Clapton would, and did, end a Cream song! Endings seem to comprise something of a running gag by Pinheiro, who also finishes Along Came Betty and George Shearing’s Conception with quaint, if rather more soft-hued, chords.

Blues Just Because‘s construction allows a lot of freedom for the voice of each personality, a method that marks the complete set. Morricone’s Cinema Paradiso gets a spheric reading, the Sketches Of Spain-type tale from Pinheiro is underlined by effective counter-rhythm by Cavalli and Ineke. Cavalli makes the most of one of his many opportunities to solo on this album, speaking with gusto and emotion. Cinema Paradiso is song turned into meaningful improvisation.

Benny Golson’s Along Came Betty, the hard bop anthem best known in the classic version by Art Blakey & The Jazz Messengers, is salsa-fied with, again, tasty bass and drum intermezzos and suspenseful counter-rhythm, which makes it simultaneously loose and swinging. The three voices of If I Should Lose You speak as a unit but also separately, a way of working that depends on the power of conversation, which Pinheiro, Ineke and Cavalli have in abundance. Pinheiro’s groove is contagious. His ability to stretch bars or leave turnarounds be seems in-built. Ineke’s subtle brush work is the foundation of the tune, surely an album highlight. Ineke is a master with brushes on this one, and also during You’ve Changed. Carl Fisher’s ballad is also marked by great Cavalli stuff, whose phrases during Pinheiro’s solo glance forward to his own following statements. Lithe, crystalline strumming from Pinheiro ends the ballad on a beautiful, bittersweet note.

Standards turned into meaningful alternatives, with a lot of motion. On the other hand, When You Wish Upon A Star, the Disney tune that has been performed by countless artists, Glenn Miller, Guy Lombardo, Louis Armstrong, Dave Brubeck, Joe Pass, Keith Jarrett and Wynton Marsalis among them, will never be the same again. It is not an alternative but a relentless deconstruction. A drone with shadows of melody evoking the Indian raga, it is marked by evocative Ineke/Cavalli interaction and hypnotic Pinheiro playing, which suggests a definite upbringing with late sixties psychedelica. To perfectly trim the trio’s outlandish Disney-interpretation, Pinheiro makes use of dubbed guitar and a slice of feedback. Not unlikely, upon hearing it, the guys of Radiohead would be transformed from paranoid androids to frenzied fans of Pinheiro, Ineke & Cavalli’s extravagant closer.

The rabbit in the hat of an already surprisingly original album.

Find the album here.

Bay 3

B3 ORGAN FESTIVAL – That is going to be a lot of stops and drawbars. Most likely the B3 Organ Festival, held from September 20-23 in San Francisco, sets a Guiness World Record. But importantly, the festival, programmed by radio host and long-time ambassador of organ jazz Pete “Doodlin’ Lounge” Fallico as part of the SF Jazz Festival, offers a rich array of Hammond grooves. On the bill are heroes of the Hammond B3 organ Lonnie Smith, Reuben Wilson, Chester Thompson, Ronnie Foster and Joey DeFrancesco, as well as new stars and up-and-coming acts as Cory Henry & The Funk Apostles, Howard Wiley & Extra Nappy and Tammy Hall. A big treat for lovers of organ jazz, the genre that keeps building on the tradition and innovations of the church, Wild Bill Davis, Jimmy Smith, Larry Young and others.

Visit the B3 Organ Festival on September 20-23 at SF Jazz Center, 201 Franklin Street, San Francisco. Tickets available here.

Appetite For Seduction


If you like your groove hefty and in-your-face, try Get To Steppin’ by The White Blinds.

The White Blinds - Get To Steppin'


Carey Frank (organ), Matt Hornbeck (guitar), Michael Duffy (drums)


in 2018 at Rich Uncle Records


as FSPT 2001 in 2018

Track listing

Hip Hugger
A Walk Through Echo Park
Little Giant
Get To Steppin’
Cold Heat
The Doc
Blue Juice

Ask a random passerby if he knows who is Zigaboo Modeliste. In all likelihood, he/she’ll raise an eyebrow. Obviously, serious music lovers will answer that he was the drummer of The Meters, the legendary New Orleans Funk outfit whose greasy and clever funk had a pervasive influence on popular music, inspiring a diversity of acts from The Rolling Stones to hiphop posses. The White Blinds KNOW their Meters, as well as music akin to it, like late 60s/early 70s soul and funk jazz. Underlined by the sustained energy of punk rock, the tight-knit trio from Los Angeles is off and running. The White Blinds are drummer Michael Duffy, organist Carey Frank and guitarist Matt Hornbeck, fixtures on the Californian soul and funk scene. The trio has released its debut album Get To Steppin’ on F-Spot Records in the summer of 2018.

Even if soul jazz may not be, as it was in the sixties, music for Afro-American folks to have an exciting evening after a day of hard labor, the contemporary audience can relate to high-quality jazz meant for relaxation. It ideally includes a certain kind of sexy vibe, capable of making people feel loose and receptive for their surroundings, not necessarily for orgasm, instead for playfulness, desire, communion. Erotica then, instead of sex, is the word in this respect. Tailor-made for inhabitants of Erotic City, this set of White Blinds soul jazz and jazz funk is uplifting, the pull of the sleazy Hammond organ, spicy guitar and roaring rolls and tight pocket of Michael Duffy’s Idris Muhammad-meets-Bernard Purdie-drums rather irresistible. Lurid grooves mark tunes as Chico, Hip Hugger, The Hustler and Get To Steppin’.

The old-school Hammond/Leslie speaker-sound of Blinded is underscored by a healthy cluster of screamin’ phrases by Carey Frank. He showcases a variety of sounds throughout the album. Matt Hornbeck, a relaxed architect of concise funk-blues stories, utilizing sly bending of notes and the occasional chickin’ pickin’ lick, gets a chance to stretch out during Jimmy McGriff’s blues line Blue Juice. ‘Jazz rockabilly’ might be the appropriate term for Little Giant, which is distinguished by varied opposing rhythm and tacky breaks. The Doc is the kind of soul tune Quincy Jones could’ve written in the early seventies for young couples to slow dance to nervously, bereft of swag and sweating like pigs.

A bit of transpiration never hurt anybody, not least the customers of the good-ol’ soul jazz genre, which Get To Steppin’ is a fine expansion of.

Check out the album and website of The White Blinds here. Also available on vinyl, including a 45rpm single.

Killers of B3

ORGAN JAZZ IN THE 21ST CENTURY – First there was the church. Then there were Wild Bill Davis, Jimmy Smith, Larry Young and many excellent and exciting jazz organists. Since, the Hammond organ has become an invaluable supporter of pop, soul, country, rock and hip-hop music. Now we’ve landed in the 21st century. A brave new world protested against by a variety of accomplished players like Joey DeFrancesco, Larry Goldings and John Medeski, who’ve been loving the grease while enhancing the jazz organ tradition in fresh and energetic ways. Perhaps the roller rink history of the organ is still occasionally scaring of some listeners and musicians. But no doubt, the variety of sonic possibilities of the organ and the distinctive oscillations of its favorite cousin, the Leslie speaker, (don’t we love that sound!) keeps inspiring new generations to have a go and groove! Some of those talented artists and groups are ranked below, as well as a number of longtime creative players who may have escaped your attention. Enjoy!

The White Blinds

That’s a swell band name. It beats The Venetian Blinds. As far as Venice is concerned, we’re very close. Venice, California, that is. The White Blinds hail from Los Angeles and consist of three fixtures of the LA funk and soul scene, drummer Michael Duffy, organist Carey Frank and guitarist Matt Hornbeck. The group locks into a definite pocket, inspired by classic soul and funk jazz of the sixties and seventies. The release of their debut album, Get To Steppin’, is due for release in September on F-Spot Records.

The White Blinds

Check out the website of The White Blinds here.

Listen to their single Get To Steppin’ on YouTube. Remember Charles Earland, Boogaloo Joe Jones and Bernard Purdie?

Blue Note Organ Trio

NNostalgia has a counter-productive inkling and retro can get pretty tedious. But certainly not in the hands of the snappy Blue Note Organ Trio, which provides multi-media evenings of ‘repertoire exclusively from 1952-67 Era Blue Note Records’. Yes, that’s right! Blue Mitchell, Grant Green, Lee Morgan, Donald Byrd, Sonny Clark, etc. The Italian organist Leonardo Corradi and the Greek guitarist Michael Papadopoulos and drummer Sera Bellos are ranked among the finest jazz musicians of their generation in their countries. Take a good listen. These guys have their shit together.

Blue Note Organ Trio

Check out the website of Blue Note Organ Trio here.

Listen to their version of Donald Byrd’s Off To The Races on YouTube. Bit of Art Blakey in there too!

Delvon Lamarr Organ Trio

From Seattle comes the Delvon Lamarr Organ Trio. Delvin Lamarr (there are worse endings of names for an organist than Marr) on organ, Jimmy James on guitar and David McGraw on drums. A healthy dose of soul jazz, meaning jazz sensibility with a solid and entertaining backbone of soul and rhythm and blues. The debut album of the group, Close But No Cigar, which was released independently in 2016, has seen wide release by Columine in 2018. Also on vinyl, not only LP but 7inch as well. Paper sleeve and blue/white (!) label, like the vintage jukebox singles.

Delvon Lamarr Organ Trio

Check out the website of the Delvon Lamarr Organ Trio here.

Listen to their version of Curtis Mayfield’s Move On Up on YouTube. Sweet stuff.

Montis, Goudsmit & Directie

Montis, Goudsmit & Directie bring the house down like few contemporary groups. Frank Montis, (born Van de Berge) otherwise a very soulful singer and songwriter in the pop jazz field, plays organ Jimmy Smith/Jimmy McGriff-style. A funky, blues-drenched cat. The trio also includes Anton Goudsmit, maverick jazz guitarist and composer, and Cyril Directie, versatile and explosive pop, r&b and jazz drummer. On – and off – stage Montis, Goudsmit & Directie may resemble The Marx Brothers high on Benzedrine. Looks deceive, this deeply involved, expert bunch strikes some serious notes.

Montis, Goudsmit & Directie

Check out the website of Montis, Goudsmit & Directie here.

Here’s their take on Al Green’s Let’s Stay Together on YouTube. Subtle but propulsive!

Arno Krijger

Partaking in the adventures of the avant-leaning German trombonist/composer Nils Wogram’s Nostalgia for a number of years now has been a boost to the career and a challenge to the development of the Dutch organist Arno Krijger. His style, influenced by major innovator Larry Young, is tailor-made for daring searches of new land. A refined player with groove roots, Krijger is involved in myriad projects. His involvement with the Belgian saxophonist Toine Thys has been very rewarding. And The Professionalz come to mind, a trio also consisting of drummer Lucas van Merwijk and guitarist Ed Verhoeff, which limits their song playing time to 3 minutes, just like ‘the old days’ of the 78rmp era. Their album, 3 Minute Pieces, was released in 2018 on TamTam.

Arno Krijger

Check out the website of Arno Krijger here.

Listen to the Toine Thys Trio, assisted by guitarist Hervé Samb, play the Afro-Funk-ish Grizzly on YouTube. Four very original gentlemen.

Carlo de Wijs

Aveteran by now, Carlo de Wijs is one of the Hammond organ players in Europe to go to for real jazz and plenty groove. Carlo de Wijs, busy in the popular field as well, made his first album appearance on tenor saxophonist Harry Verbeke’s Mo de Bo in 1985 and never looked back. De Wijs has a striking love for the organ. Besides building analogue/digital B3 hybrids, De Wijs is a teacher of organ jazz at Codarts, Rotterdam – a novelty. By the way, the organist occasionally performs with the above-mentioned Arno Krijger during what is called Hammond Sandwich. A passion dance.

Carlo de Wijs

Check out the website of Carlo de Wijs here.

This is the Z-Shuffle (For Joe Zawinul) on YouTube. An acute and gritty performance.

Simon Oslender

Simon Oslender, born in Aachen, Germany in 1998, is an incredible talent with a bag full of experience at the young age of 20. He played and recorded with Dr. Lonnie Smith, Phil Lassiter, Jazz Orchestra Of The Concertgebouw, Wolfgang Haffner and Benjamin Herman, among others. A sought-after player in jazz and jazz-related music, one of Oslender’s favorite projects is Pimpy Pandy, a crossover unit in the vein of Snarky Puppy.

Simon Oslender

Check out the website of Simon Oslender here.

Hear Simon solo during a tour with Philip Lassiter on YouTube. Wild!

Will Blades

“The future” of organ jazz, according to the legendary Dr. Lonnie Smith. Will Blades is in high demand, having worked with, among others, Idris Muhammad, Bernard Purdie, Melvin Sparks, John Scofield, Nicholas Payton and Billy Martin. Crunchy and/or eerie sounds from synths are the cherries on top of his fresh playing on the Hammond organ. Blades is not alone in this series as a player who makes excellent use of his heartfelt roots in soul, r&b, blues, funk and rock. Willing to carry organ jazz to the next centuries. Long live the killer B3!

Will Blades

Check out the website of Will Blades here.

Here’s Blades with Billy Martin doing the Little Shimmy. That rocks.

Arno Krijger pic: Photography Dieter Duvelmeyer
Will Blades pic: Photography