Pete Levin: Jump!

Pete Levin is the kind of jazz player that defines the state of the music, in several ways. On the plus side, he's a talented guy playing an instrument that has a long tradition going all the way back to the sacred roots of what is most definitely a secular art form. Players like Fats Waller, Jimmy Smith, and Lonnie Smith are the pillars on which any modern jazz player who wants to be faithful to his roots will stand. Levin nods to all the organ tradition while reserving space for what he calls "an occasional textural piece." His funk, blues, and modal styles are balanced across about half an album's worth of originals and a remainder of repertoire. The repertoire is notable for including a few interesting numbers like Freddie Hubbard's "Little Sunflower" and Mingus' "Nostalgia in Times Square." A cover of the Leslie Bricusse tune "Talk To The Animals" (made famous in the original Doctor Doolittle) verges on self-parody, the kind of sound that became overused as jazz organ fell into less talented hands and ended up being the instrument of choice for setting a slightly goofy mood in film or TV. Levin manages to make Bricusse slightly cooler through his funky filter, but not enough to justify a place on this record.

The title track, Jump!, is a great romp that wouldn't feel out of place in the hands of a John Medeski. Impeccable backing from Lenny White and Dave Stryker allow Levin to rest his foot and his left hand, and stretch out with some great solos. You can hear a steady diet of bop flowing through Levin's right hand, but his comping and left-hand technique is equally strong. The energy in this trio is infectious. "Little Sunflower" shows they can drop back to a more relaxed tempo and make pretty music, but there's not much material on the record that sounds labored or introspective. It's a fun, driving effort from these three, plus a bonus track that features Levin playing with Joe Beck and Danny Gottlieb. Scanning the list of records on which Pete Levin has appeared, you see a lot of heavy players, including Jaco, Gil Evans, Wayne Shorter, and David Sanborn. You'll also see a lot of new names, players like Levin that release music independently and play constantly in clubs and festivals.

When I said that Pete Levin defines the music and alluded to some downside, it's simply the fact that there are so many Levins out there toiling in relative obscurity while marginal artists are sold through major outlets, and while jazz gets most of its exposure through small clubs and public radio. At least with the growth of viable indie distribution channels, various Pete Levins have more opportunity to reach listeners. There's nothing on Jump! that stretches musical boundaries, but it's music any jazz fan will respect immediately. Organ trios are one of my personal favorites, especially when a horn replaces the bass, as in one of my Top 10 albums, "Gene Ammons: Live in Chicago." I'll bet Levin has heard that record or has it in his collection, along with a ton of other music representing the evolution of jazz from an upstart art form, to popular music, to today's niche status. Put simply, you can hear the tradition in every note this guy plays. Funk fans, the MMW flock, and jazz lovers will each find a favorite tune on Pete Levin: Jump!. Jazz music may not be making the cover of Rolling Stone in this day and age, but you'd never know that, listening to the passion and energy displayed by Pete Levin. Unpretentious, exhilarating, and wonderful.