Keith Pray's Three Bass Hit: Down the Middle

There's just something about the sound of a B-3 organ that touches one's soul. Its awesome power seems to resonate the entire body. Perhaps it's the roots in religious environs. With Down the Middle, Albany, New York area saxophonist Keith Pray leaves his horns and reeds home and assumes the high Hammond throne along with a fine guitar and drum duo as Three Bass Hit. Together, they deliver an engaging rock and funk fest.

As one might expect given the B-3, the album is infused with soul and energy. And this trio certainly makes the most of it. The tunes are all Pray originals featuring riff-like heads with classic call-response melodies, boom box bass lines, and chords which provide a muscular platform for extended soloing.

Over the seven tracks, the trio covers all the bases that are in the funk-rock-jazz genre. "Mohawk Funk" launches the date with a four- note melodic riff over a hip James Brown-like rhythm bed. The slow rock groove of "Back Atcha" is quite infectious with Pray's comps, Michael Wooten's hot guitar solo, and Ploss' digging in deeply. "Down the Middle" offers an intensity that's reminiscent of a Jimi Hendrix vibe. "El Toro" is a head-bobbing boogaloo that has an ear-worm head melody and an ace guitar solo.

Pray, now six years into learning "the Beast," covers the instrument exceptionally well and gives out all the usual organ tricks— tremolos, runs, punches, etc. And yes, he's all about that bass, too. While it is not yet his mortgage-paying instrument, Pray has spent time learning from B-3 jazz giants such as Dr. Lonnie Smith, Jimmy Smith, Charles Earland and other organ grinders more known in the rock arena such as Billy Preston. Those latter influences are noticeable on "Low Down Ditty" and "The Pace." Pray's fine soloing fits well with all of the grooves here.

Down the Middle is a most enjoyable ride that offers a party load of Hammond joy juice.

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