Different faces of Hammond

A review of Atis Andersons trio album «Organic City»

Hammond’s organ has a long and unusual history — in the next decade, it will reach a century. An instrument that was primarily used as a substitute for a church organ, it flourished in the jazz genre, afterward being also used in reggae and rock music. The unusual challenge of jazz pianists charms a listener with a funky aura — this is also a splendid feature of the first Latvian Hammond organ vinyl, Atis Andersons trio album «Organic City».

Atis went widely searching outside the funk box as well. The album begins with a momentary drum break by Andris Buiķis and turns to groove rhythms that also become clear from the name of the composition, «Groove Station». Together with Atis, a guitar player Āris Ozols also dived into a funky world, making the listener remember the American quartet «Medeski Scofield Martin & Wood» with the colorful trio of the Hammond master John Medeski interplaying with the legendary guitarist John Scofield.

The seven-piece album composed by Atis begins with a strong funk voice — this seems a very purposeful step because, as was already mentioned, jazz audiences draw a parallel between this pleasantly vibrating organ sound and this genre. Name one jazz lover who hasn’t at some point moved his body and mind to, for example, Jimmy Smith’s classical albums that, together with the Hammond B-3, offered elegance in the sixties and strongly united jazz and soul music influences.

Andersons doesn’t limit himself to these classics, stating that the charm hasn’t disappeared anywhere nowadays as well. Probably it has even evoked some stronger interest in Hammond usage in jazz in Latvia, which, of course, needs yet more prerequisites. One of the main of them is the presence of the instrument itself — the thing Atis does is currently considered exclusive. Although at concerts, a digital instrument sometimes comes along, which simply technically can be done easier. I have to admit we haven’t been left completely without Hammond instruments. Of course, we could only dream about how the situation would look if the Hammond instrument production, once implemented by the State Electrotechnical factory VEF, would be reborn, but let’s return to the present reality. And that one offers us a unique vinyl that the lovers of the Hammond sound and funky groove can play as much as they can. The aforementioned groove here is also a trait of the second composition, «Oak Tree», together with the guitarist Āris Ozols’ solos. With all due respect to that, more interesting seem the moments where the broken rhythm of the drums accompanies mister Hammond itself. The one who doesn’t know the details could easily get lost because the part played by Atis seems like it was born in a body of a slightly tempered double bass, although the bassist’s name cannot be found in the album descriptions. He’s the one in the Atis’ legs, as we can notice from the ad for «Organic City».

The album ends with a solid funky groove composition, «Ishinomaki», using a more aggressive rhythm and a guitar riff, as well as wider opportunities that the guitar brings. Although there are compositions that were created in slightly different Hammond cabinets. It seems like a wish to show the biggest differences possible in such a unique time is only logical. «Peppermint» is a freshly light and lyrical composition, where at the same time, non-rushing and excited musicians play with different rhythms, from time to time reaching a solid pulsating, almost a disco rhythm. It’s even a pity that the longest composition of the album fades out because it seems that this jam could keep on for a long and intriguing time, offering another dizzying solo by Atis.

«On the Beach» continues with a summery mood by «Piparmētra» (Peppermint), clearly reminding of retro vibes of «Booker T. & the M.G.’s». The composition has the potential to become a soundtrack for an advertisement, event and radio show speech, or even a movie. A clearly romantic mood is also present — Atis offers it in a ballad called «Homecoming», letting Hammond buzz as a background of clear guitar notes and floating on in an unrushed improvisation.

The last composition, «Lumberjack», in turn, is the bluesiest composition of the album, featuring funky rhythm and the feeling that we’re a second away from hearing a smoking bluesman voice. This doesn’t happen, and a bluesy guitar play accordingly comes to the forefront. And it’s really nice because a human voice would be really unnecessary in this «Organic City» album. Three instruments are singing here. Yes, drums as well, because Andris Buiķis almost physically lives along many dialogues of the organ and guitar, not leaving them alone for a moment.

This is a long ago awaited Latvian album that came to life thanks to Atis Andersons’ drive that can probably be called madness with a complicated friend Hammond, and, of course, a «Jersika Records” vinyl locomotive Mareks Ameriks who didn’t miss this opportunity. And this album, of course, couldn’t be missed by Latvian jazz fans because this is an event indeed.
It would be obvious if this story had a continuation, so we have to hope that Atis and his friends keep the groove and aren’t too shy to be braver with what they’re doing and maybe even more experimental. And the base is already very good and stable.