# Over the course of that weekend, artists and students alike would bond over their commonalities: Video

- Link: https://jazzblues.eu/2018/03/25/over-the-course-of-that-weekend-artists-and-students-alike-would-bond-over-their-commonalities-video/
- Published: 2018-03-25T17:35:29+01:00
- Author: https://JazzBlues.EU

**Back in the fall of 2016, a small liberal arts college on the banks of Lake Michigan
decided to serve as the epicenter of activity aimed at gaining more respect for 
the art of jazz organ playing. **

Over the course of that weekend, artists and students alike would bond over their
commonalities and come together to celebrate the history of the Hammond B3 organ
and its substantial jazz lineage. All the stars seemed to have aligned for Hope 
College to take on such a challenge during that first Jazz Organ Summit. They had
just the year before opened a new multi-million dollar music facility. Furthermore,
director of jazz studies Brian Coyle is well-known for his willingness to foster
dreams and set up vital experiences for his students, thus allowing this brainchild
of organ master Tony Monaco to take shape.

While about a year and a half had passed since the first summit, the wait was more
than worth it as the second annual event recently took place again in Holland, Michigan.
This small town and quaint college is really the ideal setting for such an event
and a diverse and large audience of attendees managed to make this sophomore effort
as good as if not even better than the first. Travelling from far and wide, including
folks from Arkansas and Colorado, organists brought their notebooks, video recording
devices and talents to campus again with both Coyle and Monaco at the helm of this
grand affair.

As Coyle explained to this writer in the days after this year’s festivities, “The
Organ Summit is a one-of-a-kind event in the United States. It has benefited the
organ students in the very obvious ways, but has also benefited all of the students
by bringing these amazing artists to campus. Be it the amazing organ masters or 
the great guitarists and drummers, the summit has exposed the Hope students and 
community to some of the world’s greatest players.”

Friday’s event kicked off at three in the afternoon on Friday, although things did
not go exactly as planned. In town that night for a sold-out performance at Hope’s
main auditorium, Dr. Lonnie Smith and his trio were slated to give a clinic and 
workshop. Supported by guitarist Jonathan Kreisberg and drummer Xavier Breaker, 
Smith started out with a light romp on Tadd Dameron’s “On a Misty Night” before 
opening things up for some questions. After a few quick exchanges, Smith then launched
into another ballad number that quickly dissipated as it was clear that something
was wrong. Smith was clearly not feeling well and folks rushed quickly to get him
backstage and fortunately organist and Doctor Eugene Rivera stepped in to see to
his needs.

Having been on the road steadily since January, it seemed that Smith was clearly
under the weather. Rivera had served him some food and liquids and the plan was 
for Smith to get some rest in order to hopefully perform his concert that evening.
Without missing a beat, Detroit organ great Gerard Gibbs took over for the rest 
of the workshop before everyone headed over to the VIP reception at the Courtyard
Marriot Hotel. Big E’s Sport Bar quickly turned into a convention of jazz organ 
lovers, with Coyle providing drink tickets and the venue setting up a great spread
of gourmet pizzas.

A packed house filled the main auditorium of the Jack H. Miller Center for the Musical
Arts that night. Having followed doctor’s orders, Smith seemed to be back in action
as he took the stage with his bandmates. A freeform opening melded into the iconic“
Backtrack,” with Kreisberg turning heads literally via his virtuosic guitar displays.
In terms of building a solo, he has few rivals, but he also sagaciously uses a variety
of foot pedals and other electronic devices to vary the texture and timbre of his
accompaniment. A genuine highlight of Smith’s recent live recording, All in My Mind,
the trio revamped Paul Simon’s “50 Way to Leave Your Lover” in a manner that surely
would have impressed its composer.

Taken at what drummer Kenny Washington calls “the adult tempo,” Lonnie waxed poetic
on the ballad “Frame for the Blues.” Breaker, who was spelling regular drummer Jonathan
Blake, earned his keep here and elsewhere with musically responsive accompaniment
and stellar solo work of his own. He is surely an up-and-coming talent worthy of
wider recognition. Adding quirky keyboard runs and splashes of color on his electronic
keyboard, Smith set up “Alhambra,” which proved another great showcase for Kreisberg’s
blistering guitar. Losing himself in the groove of the final number, Smith proved
the real trooper with a fine performance that warmed the hearts of those alarmed
by what had transpired earlier.

Just about a five minute walk from the Miller Center, the activity again shifted
to Big E’s at the Marriot. Tony Monaco, who has been serving as artist in residence
at Hope for several years now, would lead his trio through their own set before 
the ensuing jam session. He had brought with him Columbus guitar legend Derek DiCenzo
and Hope’s own drum instructor Jeff Shoup would be heard on set. A highlight of 
the first night’s jam would be Tony ushering his students up to the organ in single
file style to take their turns on a chorus or two of Jimmy Smith’s “Back at the 
Chicken Shack.”

Saturday got started bright and early at nine o’clock with a workshop featuring 
that’s evening’s main performer, Gerard Gibbs. A native of Detroit, Gibbs was fortunate
to spend time with two iconic mentors, namely Richard “Groove” Holmes and Jimmy 
Smith. Having worked regularly with James Carter and his own groups, Gibbs has a
lot to offer both as a performer and as an educator. His own group, ORGANized Crime
features guitarist Perry Hughes, two infinitely gifted musicians in their own rights.

The three gentleman offered advice on a myriad of topics, but it was Dunlap that
really held the audience at rapt attention with his stories of playing with Grant
Green and other greats. “I got my behind kicked,” quipped the drummer in referring
to his mentors. “It is through this kind of thing that you develop a discipline.”
Another jazz legend, Roy Ayers, told Dunlap that “it’s all about creating drama.”
In addition to fielding all types of technical questions in regard to the B3, Gibbs
doled up this great recommendation-“Learn from the people that don’t play your instrument.”

A hard act to follow, Gibbs eventually turned things over to Lonnie Smith, the Indiana
native who runs a shop specializing in Hammond repairs and tweaks. He joked about
trying to fit everything he planned into a tight hour and a half as the last time
he literally talked for almost three hours and could have kept on going. For the
session at hand, Smith shared pictures from jobs he had performed and discussed 
the kinds of common repairs he makes and the condition of some of the Hammonds he
sees. The crowd also marveled at the 1963 B3 that he brought with him as the main
instrument for the summit.

The rest of the afternoon was spent with Monaco and his trio in a clinic and attendees
participating in a large jam session. Guitarist Derek DiCenzo eloquently waxed about
dynamics and the importance of complimenting those you are working with. Monaco 
discussed how important it is to give the melody its full dues and to use it as 
a basis for the start of soloing before adding additional flourishes. Shoup shared
a sentiment that has stuck with him through the years. Stated simply, he was told
to by a mentor to “listen louder than you play.”

Set up in the smaller recital hall, late afternoon was reserved for “the summit,”
essentially a jam session overseen by Monaco and Gibbs. A sagacious choice was made
to have several consoles available to allow for as many folks to participate as 
possible. There was Lonnie’s B3, Hope’s C3, a newer rig owned by Monaco’s student
Clif Metcalf, and several other keyboards. This writer served as the drummer and
enjoyed playing through some standards with a talented array or organists and horn
players. A rousing romp through the “Groove” Holmes version of “Misty” brought forth
inspired soloing, ultimately ending with some fiery exchanges by Monaco and Gibbs.

Following a break for dinner, Gibbs and his trio with Hughes and Dunlap took the
recital hall stage for the evening’s main attraction. Displaying their hefty credentials,
this superb concert covered a good deal of ground. Stanley Turrentine’s “Minor Chant”
was ripe for exploration, the rapport between Hughes and Gibbs making for a large
sound that proved greater than the sum of its parts. Dunlap showed why he is one
of the great drummers of his generation, ever the showman and responsive to Gerard’s
every move. A tip of the hat to his mentor “Groove” Holmes, Gibbs couldn’t resist
the urge to offer his own take on “Misty” complete with his signature bass lines.
The Beatles’ “A Day in the Life” was also given a brilliant update in a rendering
that truly told a story.

Another evening of jamming at Big E’s brought with it several additional moments
of splendor. Monaco and crew kicked it off again before turning things over to student
Clif Metcalf. A sophomore jazz organ major, Metcalf is mature beyond his years and
it was clear that both DiCenzo and Shoup were enjoying getting to know the musical
muse of this talented youngster. Many other attendees had a chance to shine, with
Bill Lyons turning some ears with his incendiary licks. Other drummers who participated
included Nick Neely, the great Randy Marsh, and this writer.

Fostering a new and valuable relationship with local brewery New Holland, Coyle 
added a Sunday brunch at the brew pub as a parting shot to this stimulating event.
The Hope Organ Trio featuring Metcalf provided the music for the gathering and the
opportunity for some final networking. Reflecting on the events of the weekend, 
Coyle would comment, “It is so wonderful to see doctors, accountants, computer specialists,
and such attending this event and expressing their love of this great American music.
It’s really inspirational for me and I’m happy that our students get to experience
the joy of the people who come to this amazing event.”

![2018 Hope College Jazz Organ Summit](https://i0.wp.com/s3.amazonaws.com/allaboutjazz/
photos/a_large/10f382aba4033bf82977f86ddc7fb59f.jpg?w=640&ssl=1)

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