The Ken Clark Organ Trio’s new release Funk Side Jazz Side offers a tasty smattering of both dishes. Sometimes it works against an artist to have a foot planted firmly in two different genes at once. Yet, in the case of Ken Clark and his Organ Trio, working with funk and jazz idioms proves quite successful. Whatever label one wants to slap on this trio and its CD, the Ken Clark Organ Trio play exceptionally good music here.
Opening cut “Just Ain’t What You Need” finds Clark crooning soulfully over his simmering R&B influenced organ work. Perky notes and swirling chords create a smoky night club vibe. Area saxophonist Myanna Pontoppidan chimes in with her sultry horn work, further immersing the listener in this 1970s style piece.
“Breakfast Jam” continues the smoky vibe of the opening cut yet it spreads the sound out further, wider. Ckark’s simmering notes and chords and Myanna’ endless line of saxophone bliss are light, politely self-restrained. They travel continuously rather than snap and swing around a groove. Drummer Steve Chaggaris, who co-wrote this piece with Clark, keeps the energy in motion, letting the upper register instruments funk on in a forward fluid motion similar to jazz. Beauty.
R&B dandy “Cold To The Bone” lets Clark showcase his raw, soulful rasp at the microphone as he taps out a line of tender organ notes. This piece erupts into its chorus with wide blaring horn shots form Myanna, engaging the listener more. Eventually, the trio’s guitarist Mike Mele steps in for a piece of the action with a nimbly played lead. His thin phrase skips around playfully, merrily until it’s time for more swathing organ and saxophone.
“You Are Mine” offers more of Clark’s blue eyed soul vocals. This one lets him glide his voice over an R&B-pop soundscape. His and Kim Clark’s harmony vocals are sweet, heightening the charm of verses and chorus alike. Clark’s B3, Myanna’s effusive sax, and Mele’s icy cool lead guitar widen this tune into something that feels as much like an anthem as a love song and those large sweeps of sound give incredible lift to this magic carpet ride.
Clark’s aggressive organ riffing on “Eleven” makes one wonder if he’s ever played in a Deep Purple tribute band. Smacking his B3 chords like a man demanding satisfaction, his feisty organ work is playfully matched by Chaggaris’s frenzied motion of drum fills and rolls as well as Mele’s biting lead guitar line, a line that moves around the groove with some kind of clever, magic persistence, a line the listener cannot predict but one that always pleases wherever it lands. The trio rock out here, in a soulful way, and it’s a fun track to dance or party to.
“Lonely Being Right” also jumps right into action with a rock and roll attitude. It’s driving beat is surrounded with numerous smacking fills and rolls, a piercing, smoking hot lead guitar line, and Clark’s mad man profusion of simmering organ chords. Clark’s vocal gets raw, aggressive, and he makes a strong impression belting this out like a true rocker as the music beneath his voice makes one want to party or fight someone.
Going more deeply into jazz territory, Clark shows a more sensitive side on “The Yogi.” Mellow octave organ notes create a mood for a quiet night alone. Chaggaris barely touches his drums with his sticks as Mele picks quieter notes to complete this easeful piece that barely kisses the ear. The trio still impress down tempo because of their chemistry.
“Strip 2000” is a jazz piece with a bit of an edge. Clark slaps the B3 into forceful momentum before Mele picks a brittle line with perfectly accented notes. There is nervous hesitancy in the trio’s approach. Instead of creating a certain direction to travel in, they decide to simply indulge in their stumbling walk. Each instrumentalist draws out something special with fluid motion and then tosses it around some. The result is a festive piece that grows more complex and even more enjoyable by the end.
“Not A Dream” ambles in with flinty organ notes that ring with a nice tone. Clark’s intervals please the ear with their snappy run. Switching to softer chords, he opens the space for Mike Mele’s fluid, mellifluous guitar line, a melodic phrase that engages by how sensitive it rides in the space created for it. Chaggaris gently sticks his skins to lull the listener in deeper with his softer fills. Its strength, unexpectedly, comes from keeping everything in a soothing vibe.
Increasing the tempo a bit, the Clark trio leap into closing track, “Forty-Six,” a festive outing that hops, skips, and jumps with jazzy freedom and funky motions. Chaggaris smacks out some tasteful, speedy fills, a lot of action in each series of rolls, giving the others a tricky line to play over. Mele pays out a line of demanding intervals, notes that feel soft but travel with spirited aplomb. Clark slaps the chords and out comes a greasy phrase that makes this number jump up and down like it’s a got a mind of its own and the trio is trying to lasso the beast and reign in it.
The Ken Clark Organ Trio have certainly come up with a slamming work of art with Funk Side Jazz Side. There is plenty of funky jazz and jazzy funk for the listening to sink his teeth into. As an added bonus, guest musician Bobby Hickman adds an extra layer of rhythm here and there on percussion. Aside from the impressive musicianship, Funk Side Jazz Side is also a collection of fun songs that one can enjoy in the car, on the workplace computer, or include on a play list at a good party. Produced by Clark at My Other Hat Studios with engineer Brian Doser who also mastered the disc, this album will sound really good coming out of your speakers.
www.kenclarkorgantrio.us
