Artie Zaitz: The Regulator

It might seem strange to be considered a veteran when you are in your 30s, but after more than a decade performing and recording with various bands both in the UK and internationally, guitarist Artie Zaitz seems to have become part of the fabric of the UK jazz music scene. He has worked with The Banger Factory, Pee Wee Ellis, Camilla George and Moses Boyd. Zaitz is also a Hammond organ enthusiast, often performing on his 1961 Hammond C-3 organ (aka Big Bertha), as can be heard on Artie Zaitz & Mark Kavuma featuring William Cleasby's album Back To Back (Banger Factory Records, 2022) reviewed here and Jake Long's City Swamp (New Soil, 2024) reviewed here.

Zaitz has several guitar influences, notably Kenny Burrell and Grant Green, but The Regulator is more of a fresh take on the classic guitar and organ sounds of the 1960s. Zaitz passes the organ duties to fellow Hammond devotee Ross Stanley (Guy Barker, Jacqui Dankworth, Jim Mullen). A typical organ trio consists of an organ, guitar and drums. Zaitz takes the unusual step of changing the trio to a quartet as experienced drummer Steve Brown is joined by one of the UK's foremost Latin percussionists Dave Pattman on congas. The combination of Brown and Pattman is an inspired choice, as their rhythmic interplay sparkles throughout the album.

The album opens with "Some Extent," a blues song composed by Zaitz. The "vintage" saturated sound, tracked live in the studio, is the first thing that hits you and is perfect for this material. Hammond, drums and congas build up a groove before the fleet-fingered Zaitz joins and builds an impressive guitar solo. Pattman's congas make this a swinging delight as Stanley takes off with a fine Hammond solo. The quartet adds short interjections as the track closes.

First released on Dizzy Gillespie's album Afro (Norgran Records, 1954), "Con Alma" gets a sultry treatment. Pattman provides a solid rhythmic base for Zaitz's guitar phrases that build into a well-constructed solo before the baton is passed to Stanley. Stanley and Pattman's interplay is a key feature of the bright tempo of "A Nod To The High Priest," Ruben Fox's tribute to Thelonious Monk. Stanley's solo builds in speed and intensity with good use of the pedals before Brown's neat drum flurries come to the fore.

"Boogaloo Ga Goo," composed by Zaitz's father Jake, builds a great shuffling groove and Zaitz takes his guitar through a catchy blues hook to a fiery extended run that touches scorching before handing off to Stanley, who follows the same path. "Our Miss Brooks," a swinging laidback blues composition from tenor saxophonist Harold Vick allows Zaitz the space to show his imagination in a slowly burning solo. Stanley takes over, shakes off the laidback feel and lets the Hammond fly.

The album closes with the title track. Written by Mark Kavuma, this features a smart spoken word introduction from poet Fausta Joly. This track builds great rhythms as Stanley pulls out all the stops and Zaitz solos with his customary zest. With their tangible compatibility and a fine choice of material, this band sparks with imagination, rhythmic flair and exuberance. They achieve a period feel while maintaining fun and freshness. A bluesy triumph.

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