May News

I’m excited to have two great gigs coming up soon with John Hanks on drums and Randy Johnston on guitar! I’ll be playing trio with them this Friday night at Irregardless Cafe, and Saturday afternoon at Apex Peakfest.

In addition to those two Doug Largent Trio gigs, check my calendar to the right for other great opportunities to hear great music.

See you!

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Jazz Organ Project 19/250

This post is simply about a few things I’ve been thinking about recently. Maybe the ideas are loosely linked together under the umbrella of the idea of musical mastery.

I love the Shunryu Suzuki quote, “In the beginner’s mind there are many possibilities, in the expert’s mind there are few.” That’s the reason I love music, and especially jazz, and in particular the jazz organ. Every new thing you learn opens a door revealing a whole bunch of stuff you need to practice. I watched a Dr. Lonnie Smith video yesterday, and slowed it down and finally figured out one of the fast things he does which kind of reminds me of Coltrane. When I finally saw it, I thought “Ok, now that’s several years worth of practicing I need to do for that one thing.” Likewise when I went to the Bobby Floyd workshop, and saw him do one-handed block chords. I constantly feel like I need to go back to square one and start over.

On a related note, I’m very skeptical of people who consider themselves ‘experts’ at jazz, and take it upon themselves to berate and belittle other hard-working musicians. Certainly a jazz master can easily recognize another musician who is working hard to learn their craft, even if they are not as far along on their journey.

Finally, I’ve been thinking a lot about what jazz mastery actually means. To me, it means focusing on music on a higher and higher level. By higher level, I don’t mean ‘Faster, more complicated, more angular’, I mean it as if you are viewing the earth from further and further in the air.

At the lowest level, technical problems dominate. Your thoughts are focused on basic things like what notes are in a certain key, or perhaps your hands are not yet coordinated enough to play the necessary notes.

As you gain technical proficiency, you begin to pick up or create bits of vocabulary and practice them until they become natural.

Then, you focus on phrases.

As you gain technical proficiency, perhaps now you begin to realize that timing and rhythm are more important than notes.

Then all those things fade into the distance and you recognize that the sound of you playing your instrument is the most important thing. Then you notice that the sound of the other two instruments in your trio are more important than anything else.

Then you realize that you are listening to the personalities of three humans on stage.

In the past, I’ve actually been able to reduce the whole thing in my head to just AM radio static, and visually like a bunch of oil pastels smudged together. I believe this is the level equivalent to Miles Davis, where he could create music without paying any regard to details but instead defining an overall direction.

Ok I’m not comparing myself to Miles. My mental exercise only tries to understand what it would take to make music at a high level.

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Jazz Organ Project 18/250

I was practicing my 2-bars-bebop soloing/2-bars comping exercise the other day, when I had another big light bulb moment.

Recently I posted about how I had a hard time switching gears between improvising a bebop line with my right hand and comping with my right hand. Well just a few days ago I made a pretty big discovery: when I comp, I’m feeling a groove, and when I start to solo, the groove goes out the window and I become cerebral.

That’s a very rough way to describe what happens to me physically when I switch between comping and soloing. When I comp, my body feels loose and my ideas flow and I’m really feeling a pulse. Then when I solo, my muscles tighten, I might forget to breathe, etc.

As usual, I feel like a dumbass for taking so long to realize this, but now I know what to do to change the game. Part of what made this light bulb click on is then Ondrej told me that comping needs to just be part of my melodic improvisation, and not separate from it.

Practicing this is deceptively simple: when switching from comping to soloing, don’t tighten up, stop breathing, and throw the groove out the window. And here’s where my Alexander Technique training comes in. I’ve trained my body to tighten up and get stiff when I take a solo, likely because I have an idea in my head that solos are complicated and difficult. Therefore that tightness has become an almost irrepressible reaction.

I’m chipping away at it though.

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Neo Ventilator – A Niche Review

Over the past six years, I’ve used the Leslie simulation of three different clonewheels. In their order of authenticity: Korg BX3, Hamichord, and Nord C2.

The Nord was my favorite, but still sounded digital and grainy when compared to the same keyboard mic’ed through a Leslie.

I also have a B3 with Leslie 122, so I appreciate how good the real thing sounds.


After reading a bunch of good reviews, I decided to pick up a used Neo Ventilator. I poked around the Internet for a while longer, and decided to buy a Bose F1 812 powered speaker to use as a keyboard amp.

The Bose speaker ended up sounding terrible with the Ventilator. The bass was boomy, and the treble was both muffled and shrill sounding at once. Some keys on the top octave of my Nord made the tweeters rattle. Also, the line input didn’t have nearly enough gain for my keyboard to be loud enough for a gig.

I sent the Bose back, and decided to try a Yamaha DXR-12. At about half the price of the Bose, the Yamaha sounds way better. Amazing, in fact.

After using the Yamaha DXR-12 with the Neo Ventilator with my Nord C2 at a couple of rehearsals, I decided to take it to a gig.

It sounded great. The speaker was clear and powerful, and the Ventilator sounded remarkably close to a Leslie 122.

The Ventilator helped me with a big problem I’ve had with the Nord- the two top octaves of the upper manual with C3 vibrato and percussion always sounded both muffled and shrill at the same time. With the Ventilator, the notes were clear and present.

I also discovered that the Nord half-moon switch works perfectly to control the Ventilator speed, with the added bonus of giving me a ‘brake’ mode where the rotors fully stop.

One other feature of the Ventilator that I really appreciate is that when you switch to brake mode, the virtual rotors always stop pointing towards the virtual mics. That is something which always bugged me about the Nord’s built in simulator- the rotors would often stop in a weird place and the organ would sound awful.

For jazz, I found that the Ventilator sounds great with all of the controls set to 12 o’clock. I appreciate that it sounds perfect right out of the box- at least with the right kind of speaker.

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Jazz Organ Project 17/250

A few weeks ago I had a gig with a drummer and a sax player, where I was responsible for all of the chordal comping, both behind the Sax player and also behind my own soloing.

I discovered that it was a lot more difficult than I thought to be the only chordal instrument in the group (and the only bass player, and one of the main soloists as well). So it felt like I had to go back to the drawing board again.

The big problem for me is that when I switch between soloing and comping, my mind has to switch gears in a pretty big way. I called Ondrej Pivec to ask him about this, and he had a lot of great ideas. One thing he said is that as I walk around all day with music in my head, incorporate chords as part of the melody. Also, think of chords as harmonized melody.

As an exercise, I’ve been working comping into my bebop practice. 2 bars soloing, then two bars comping. Not necessarily starting on the first measure. It sounds really cool.

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Jazz Organ Project 16/250

I had a great weekend playing with Randy Johnston on guitar and John Hanks on drums. Those guys blew the roof off the place!

Also notable was that I was playing a solo organ gig at RDU airport when my friend Allison Leyton-Brown arrived from NYC!


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Jazz Organ Project 15/250

Over the past month or so, I’ve decided to start practicing the upright bass and rebuild my skills. I’ve decided to practice what I preach to my bass students: spend 1/2 hour playing long tones, concentrating on perfect intonation, and then 1/2 playing scales.

I’m convinced that playing long tones is the best way to practice upright bass. It builds up strength, and it teaches you how to hold a note with good, steady intonation, even harmonics, perfect tone, and appropriate vibrato.

I’m reminded of the talk that Cameron Carpenter gave in Raleigh about the nature of the organ. Like a computer, notes are either on or off. Unlike the bass, you could casually press an organ note with a weak finger stroke, and it would sound exactly like a well-articulated note played with good technique.

Similarly, any mistakes you make on the organ ring out just as loud as the correct notes. This makes the organ an all-or-nothing proposition. Playing the organ, you have to be ‘all in’ or resign yourself to sounding crappy.

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Jazz Organ Project 14/250

It has been a great few days. I played a bluesy organ song at church, and played the pedals for the first time in public! It was fun laying down the bass line for this simple groove.

I bought a Bose speaker and borrowed a Neo Ventilator from my friend, and I’ve had a ball messing around with those.

I got to see Bobby Floyd play, on my Hammond B-3, and I finally got the organ moved back into my apartment after 6 weeks or so of it being rented. So glad to have it home. First thing I did is clean and polish it thoroughly.

I’ve also been playing some cool gigs with Tim Smith-

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Jazz Organ Project 13/250

I had a good day practicing and got a lot done. Here are a couple of clips of the things I worked on.

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Jazz Organ Project 12/250

I’m sort of doing something different now. I’m practicing bass. Long tones with the bow, and my hands feel pretty good after a week.

On the keyboard side of things, still playing scales and arpeggios every day. Depending on how much time I have, I’m practicing Mendelsohn, practicing bebop or transcribing Jimmy Smith. All very fun, enlightening stuff.

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