Brian Charette: You Don't Know Jack!

Brian Charette's release You Don't Know Jack! is a heartfelt acknowledgement of the influence of the legendary organist Jack McDuff upon his career. This began unknowingly when Charette purchased his first Hammond B3 and learned it once belonged to McDuff. In this spirited endeavour, Charette has enlisted several bold-name players, including tenor saxophonist Cory Weeds, guitarist Dave Sikula and drummer John Lee. This quartet delivers a high-energy tribute while injecting a fresh contemporary vibe into the jazz organ tradition.

Charette's compositions make up the majority of the album, reflecting his understanding of the jazz organ idiom, but two of McDuff's classic compositions, "The Jolly Black Giant" and "6:30 In The Morning," are central to proving that his music remains vital today as it was decades ago. The opening track is a Charette number, "Early America," with Weeds' robust toned tenor in the forefront. Sikula has a tasteful turn over the fretboard, and Charette shows his quicksilver virtuosity and harmonic acuity. The first of the previously noted McDuff numbers is up next, with the quartet focussing on the chart's dramatic quality. It brims with improvisations from each player, with no drop in imagination.

The title track "You Don't Know Jack!" blends a bluesy swagger with a modern edge. The quartet's cohesion shines here as Weeds, Sikula and Charette contribute to the vibrant and dynamic interplay. The other McDuff composition has a Latin vibe, with Lee setting the pace as the band channels the infectious groove while adding their unique flair. Charette's mastery of his instrument is evident as the number's rhythmic vitality engages him in a creative solo. Weeds and Sikula perfectly complement Charette's organ, as their solos are filled with crisp articulation and inventive phrasing. Weeds' contribution as a composer is "Have You Met Joan?," a contrafact based on the chord changes to the Rodgers and Hart popular song "Have You Met Miss Jones," written for the 1937 musical comedy I'd Rather Be Right. Fuelled by Weeds' energetic playing, the number is full of magnetism and purpose. It inspires Sikula, Charette and Lee to create their solo interjections that give the rendition a modern sensibility.

The closing track is "I Like A Big Schnazolle" from the pen of Charette. Like the other compositions, it continues with the quartet's playing, which is steeped in tradition. Nevertheless, the players are not afraid to stretch out and explore new territory through unexpected harmonic turns or rhythmic shifts, ensuring that the music feels fresh and relevant.

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