Brian Ho, Calvin Keys, Oscar Pangilinan, Lorca Hart - Organic (2011)

The initial stages of Jazz Organ often solicited unfavorable comments from critics who wrote that the sound was loud and overbearing. Then Jimmy Smith proved to the world that the Hammond organ could be subtle and articulate as a soloing instrument. He established its worth in the music industry and spawned hundreds of disciples. In the mid seventies, however, Hammond-based, jazz organ once again came under scrutiny – this time for its maneuverability (or lack of) in comparison to the newly arriving synthesizers. The resulting Hammond-hiatus lasted about ten years… A Jazz Organ renaissance took place in the late eighties that, once again, propelled the old warhorse forward to where it would recapture our attention. Those players who were still around, found new and younger audiences that appreciated the cherished organ sounds and infectious grooves and the newer players on the scene began to reshape and re-think the existing jazz organ language so that it was even more digestible to the public. Brian Ho now represents the newest wave of organists. He and his contemporaries seem to be reaping the benefits of this renaissance as well as the improved image that Jazz Organ now enjoys. Brian’s influences have been the usual suspects: Jimmy Smith et al … This makes him a believer in the history of this musical genre and a contributor to its legacy. With ‘Organic’, his debut recording, Brian demonstrates how cooperative the organ can be and how valuable an ensemble instrument it actually is. Brian plays this music, as he feels it, in conjunction with his band mates and with all due respect to the history of jazz organ and the progressions it has gone through. His style is developing, as it should be, but his approach is as accurate as a Lamborghini in the turns of the autostrada. Born January 17, 1977 in the San Jose area, Brian has been musically active throughout the South Bay in most of his 34 years. “I grew up playing piano; starting when I was five”, says Brian. “When I was sixteen, my piano teacher requested that I play at this Black Baptist church. They had an organ there and the lady organist started teaching me how to play it. I was pretty bad in the beginning but I kept getting my butt kicked until I began to catch on. After college, I played a lot of piano trio gigs until I realized that the (digital) organs were becoming lighter and easier to move. I ended-up getting a portable organ and the rest is history”. Today, Brian reports that at least 90% of his gigs are with the organ. Many of his most recent gigs have been with guitarist Calvin Keys, saxophonist Oscar Pangilinan and drummer Lorca Hart. These gigs prompted the recording of ‘Organic’. “Right before we did this recording”, states Brian, “we must have played ten gigs in three weeks and so we just got to know each other so well. We didn’t need multiple takes or to talk about the arrangements because we were so comfortable with one another”. As the date-leader, Brian was able to put his own stamp on this collaboration by contributing five originals and doing most of the arranging. His allegiance and appreciation for his band-mates, however, reigns supreme. “Calvin is almost like a teacher when he plays with me”, admits Brian. “He does it more ‘old school’ – by ear. It doesn’t necessarily have to be pen-to-paper for him. He wants me to trust my ear and try different things. Lorca always plays off what I do and I think that is really important. It seems like Lorca and I have been playing forever. I love what he does. It’s a modern feel but at the same time, he’s swinging with lots of ideas”. Oscar is another San Jose player who has been quite busy with a number of Bay Area groups. After meeting one another on a gig, Brian and Oscar began to steadily work together more. When one would get a gig, the other was invited along. “Instead of just using drums”, says Brian, “Oscar would suggest making the gig an organ combo and that’s how we got started”. The tracks on this CD offer a variety of tempos, organ moods and danceable rhythms. ‘Tres Ritmo’ has a strong head and possesses great energy. ‘Beat Street’ showcases Lorca’s drumming in near Caribbean fashion. ‘Song For My Father’ shows deference to the classic organ combo vocabulary with a lighthearted feel and a sparkling solo from Calvin. ‘Rehab’ gives a nod to contemporary vocalist Amy Winehouse as it swings and sways with an encore-like feel. ‘Artful Dodger’ gives a Bossa Nova feel to a beautiful ensemble effort. The rhythmic head and bridge make way for welcome space between solos. ‘Restoring the Faith’ allows Oscar to show his complete awareness of his horn as he solos magnificently. The time, here, is most interesting. ‘In A Sentimental Mood’ lets us hear how this group handles a ballad. The results are amazing. Brian gives a full orchestral lift to the piece and away they go! The final track, ‘Reversi’, is a great vehicle for each member to unleash their expressive energy. The whole package, in fact, offers such a refreshing palate of organ combo grooves and sonic delights that even the most naïve will nod in approval. With ‘Organic’, Brian Ho moves this music forward as both an ensemble player and a modern proponent of our contemporary Jazz Organ genre. Pete Fallico KCSM San Mateo