Towner Galaher Organ Trio: Live

There is a proverb which states "everything old is new again"; it seems perfectly applicable to the latest release by drummer Towner Galaher, Live, on which he gives a tip of the cap to the classic organ trios which were front and center in clubs and on records during the '50s and '60s. Supported by Lonnie Gasperini on Hammond B3 organ and Marvin Horne on guitar, Galaher lays down fourteen tracks of swingin,' funky, bluesy material which were the touchstones of those organ trios.

The opening track is an original by Gasperini, "One For McGriff," and is a tribute to the great organ master Jimmy McGriff. Slathered in a downtown bluesy grind, the band keeps the energy flowing all the way through. It is generally accepted that Jimmy Smith pulled together all the physical elements from the Hammond's antecedents and added the musical framework of rhythm and blues, to make the instrument acceptable to today's audiences. Galaher acknowledges this through one of Smith's compositions "Mellow Mood." With a slinky Latin vibe, the band demonstrates its musical inventiveness, while providing guitarist Horne with ample space to stretch out as he dances over the fret board.

In keeping with Galaher's adeptness with a multitude of drumming styles, he showcases them in a couple of numbers by bold name organists such as Jack McDuff with "Hot Barbecue" and Dr. Lonnie Smith with "Norleans." In the former, Galaher rides a New Orleans rhumba groove with Gasperini pushing out the keyboard riffs; on the latter tune, Galaher establishes a three-beat pulse which is the foundation of New Orleans R&B and funk. As Galaher holds the beat, Gasperini and Horne squeeze every bit of New Orleans sound from the number.

Not wanting to be classified as a one trick pony, the band takes on the classic Billie Holiday ballad "Lover Man" and clearly establishes their bona fides. With his deft and sympathetic brush work, Galaher lays the foundation for Gasperini's full bodied chords and Horne's soulful guitar work. So, regardless of the composition, whether it be Gasperini's "Keep Talkin'" an up-tempo blues shuffle, or alto saxophonist Lou Donaldson's "Alligator Boogaloo" , the band demonstrates terrific group interplay, coupled with an energetic exchange of ideas. Overall the session is a wonderful demonstration of the group's musical ability and versatility.

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