Here's a tip: When offering newbies something pretty good, don't mess things up by highlighting what they're missing. To a newcomer to longtime organist Ron Levy, his Wild Kingdom's Best Of B-3 Organic Grooves comes across as a quality collection of funk/blues from four previous releases. But I found this part of its promotional text at his web site :
Several songs have been re-mixed and edited down for more friendly radio play times and has also been packaged in a more easily "rack-able" style for stores and filing.
Uh, maybe that's something to whisper to marketers. For me, that means spending 74 minutes wondering what's missing.
OK, with that out of the way, this is a lively and creative collection, if not entirely cohesive in song selection and engineering. Also, while it's pitched as "organ-rich acid jazz," it's more mainstream '60s and '70s stuff in the style of Jimmy Smith than John Medeski.
It's hard not to like Levy's work, regardless of whether he's playing repetitive crowd-pleasing romps or digging beneath the surface for a variety of jazz and blues styles. He performs some of the finest work of the modern era at times, both exploiting the harmonic twists of his B-3 and letting straight-ahead keyboarding speak for itself. Most of the time operates at one speed: full throttle.
It generally works better on slower pieces like "Blues For BB" and "Levtronic Blues," where the sparser audio canvas allows his furious pace of notes to stand out. But he also scores with the hyper-Latin-meets-'60s-rock of "El Fuego De Lowell" and generally outplays his bandmates on the other selections. They bring plenty of energy, but sometimes it's more in line with the thrasher's motto of loud and furious, rather than insightfultoo many generic blues/fusion riffs, in other words.
A minor gripe is that some selections end abruptly as new ones with different sonics and styles begin, making it sound like the stitched-together compilation it is. Also, call this a gritty album or cite the pitfalls of live recording, but it's one of the few I've heard recently where poor sound, mostly a muffled quality that stomps on the treble, is a noticeable detriment. It also makes for a muddy bottom end. It seems like this could have received some attention while they were cutting down songs and making other "improvements."
Those wanting to get acquainted with Levy or seeking good organ party music won't go wrong with this compilation, but I'd almost certainly recommend going with one of the albums it borrows from first. Those wanting a free taste can download four of his songs from www.amazon.com .
Track Listing: 1) Sons Of Abe; 2) Blues For BB; 3) El Fuego de Lowell [Pt. 2]; 4) SPANK!; 5) Best Cookies; 6) The Wes
Side; 7) Some Sorta Blue; 8) Levtronic Blues; 9) Funky Monkey Boogaloo; 10) Soulard Soul Stew; 11) Yo
Bro' Yossel; 12) Spangled Star Boogaloo
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.