Album Review: OJT- New Originals for the Green Lady

“Lamanai”, the stellar track that opens New Originals for the Green Lady, suggests that the Kansas City trio OJT has developed an intriguing new approach to organ jazz.  Organist Ken Lovern twines the styles of prog-rock keyboardists like Rick Wakeman and Keith Emerson with the approaches of jazz giants such as Jimmy McGriff and Richard “Groove” Holmes.  Guitarist Brian Baggett and Kevin Frazee help Lovern gradually morph “Lamanai” from rock pomp into a Southern rock jam worthy of the Allman Brothers Band.

Alas, OJT backtracks from the bold opening salvo.   The subsequent selections on its fourth album New Originals for the Green Lady are in the established organ jazz traditions that range from vintage Jimmy Smith through John Scofield’s collaborations with Medeski Martin & Wood.  While not particularly innovative, the final seven tracks are unflaggingly groovy. 

It’s the kind of feel-good party music associated with Green Lady Lounge.  OJT honed the uncommon cohesion it demonstrates on New Originals for the Green Lady by playing at Kansas City’s most successful jazz venue every Wednesday for years.  On “Lamanai,” however, OJT transcends those influences to forge a fresh new sound, a breakthrough that the group would do well to pursue on its next recording.

(Original image by Plastic Sax.)

Album Review: Matt Hopper- First Love

Matt Hopper sounds like an old soul on his impressive debut album First Love.  The young Kansas City guitarist plays with the patience of a sage veteran who feels no need to prove himself.  Rather than peppering the project with flashy solos, Hopper emphasizes tasteful grooves.

Hopper is accompanied by two-thirds of OJT.  Organist Ken Lovern and drummer Kevin Frazee provide the same sort of prudent playing that’s heard at their frequent appearances as the unofficial house band of the Green Lady Lounge and on last year’s correspondingly conventional New Standards for the Green Lady album.

Hopper aligns himself with old-school guitarists like Kenny Burrell rather than modernists such as Bill Frisell on straight-ahead tracks like “Song For Wes” and “Darn That Dream.”

Even so, the album’s most distinctive song is one of the few selections that couldn’t be mistaken for something that was recorded fifty years ago.  Rather than paying tribute to past masters like Wes Montgomery, Hopper explores new terrain on the hauntingly beautiful “Set Your Fears Aside.” 

(Original image by Plastic Sax.)

Album Review: OJT- New Standards for the Green Lady

I’m entirely in favor of the concept of new jazz standards.

Not only do I race to the exit every time a band launches into “Kansas City,” I don’t ever need to hear “In a Mellow Tone,” “The Girl From Ipanema” or “Satin Doll” again.

The intentions of the organ trio of Ken Lovern, Brian Baggett and Kevin Frazee on the new OJT album New Standards for the Green Lady Lounge are commendable. 

The playing and arrangements of the de facto house band of the Green Lady Lounge are also excellent.  Unfortunately, I don’t care for much of their repertoire.

I’ve already heard Lennon-McCartney’s “Eleanor Rigby,” Clapton-Gordon’s “Layla” and Michael Jackson’s “The Way You Make Me Feel” far too many times to embrace OJT’s interpretations of the songs as my new jazz standards.

Less familiar material including the Grateful Dead’s “West LA Fadeaway” and a pair of relatively obscure Steely Dan tracks, consequently, are more appealing.  The freshest cover is a version of Tears For Fears’ “Everybody Wants to Rule the World.”

I prefer contemporary compositions to the classic rock favored by OJT. 

Mark Lowrey’s interpretation of the Republic Tigers' ”Buildings and Mountains” is exquisite.  Robert Glasper’s rendition of Jhené Aiko's 2014 hit ”The Worst” is also astounding. 

Recent material by Alabama Shakes, Mary J. Blige, Kendrick Lamar, Frank Ocean and Charlie Wilson offers similar promise as potential new jazz standards.

(Original image by Plastic Sax.)