Brian Charette

Brian Charette Organ Sextette
Brian Charette has the Hammond organ tradition in his blood, covering every base from unaccompanied to classic trio to the advanced four-horn unit he calls the Sextette. At Smoke on July 10, he'll draw from the 2012 disc Music for Organ Sextette and get deep into things with Itai Kriss on flute, Mike DiRubbo on alto, Kenny Brooks on tenor, Norbert Stachel on bass clarinet and the amazing Jochen Rueckert on drums. - Village Voice

Brian Charette Organ Sextette
Brian Charette has the Hammond organ tradition in his blood, covering every base from unaccompanied to classic trio to the advanced four-horn unit he calls the Sextette. At Smoke on July 10, he'll draw from the 2012 disc Music for Organ Sextette and get deep into things with Itai Kriss on flute, Mike DiRubbo on alto, Kenny Brooks on tenor, Norbert Stachel on bass clarinet and the amazing Jochen Rueckert on drums. - Village Voice

In this masterclass I speak about drawbar settings for Jazz Organ - Downbeat

You could hear Arturo O’Farrill and the Afro Latin Jazz Orchestra play a spacious, brass-defined arrangement of Herbie Hancock’s “Maiden Voyage” at the Naumburg Bandshell, then walk five minutes due west and hear the same song by Brian Charrette’s Organ Sextette, funkier and slenderer, with flute and bass clarinet. - New York Times

Jared Gold .....109
Brian Charette...........105
Matthew Shipp ..........96
Pat Bianchi ...................91
Wil Blades ...................60
Amina Claudine
Myers ...........................60
Jamie Saft ...................49
Dan Wall ......................49
Kit Downes ...................45
Rhoda Scott .................45
Reuben Wilson ...........44
Erik Deutsch ................37
Alexander
Hawkins ........................35
Greg Lewis ..................34
Akiko Tsuruga .............30
Gerald Gibbs ................29
Joe Bagg ......................28
Bill Heid ........................22
Dan Fogel .....................20
Atsuko Hashimoto .....20
- Downbeat

Jared Gold .....109
Brian Charette...........105
Matthew Shipp ..........96
Pat Bianchi ...................91
Wil Blades ...................60
Amina Claudine
Myers ...........................60
Jamie Saft ...................49
Dan Wall ......................49
Kit Downes ...................45
Rhoda Scott .................45
Reuben Wilson ...........44
Erik Deutsch ................37
Alexander
Hawkins ........................35
Greg Lewis ..................34
Akiko Tsuruga .............30
Gerald Gibbs ................29
Joe Bagg ......................28
Bill Heid ........................22
Dan Fogel .....................20
Atsuko Hashimoto .....20
- Downbeat

Brian Charette
Borderline
SteepleChase 31756

3 1/2 stars

Few people can get away with playing solo organ.
Churches and ballparks will hire someone to
employ all their limbs for the congregation but
it’s a rare sight to get a jazz organist alone. Brian
Charette, on his first solo organ album, tackles a
lot of the standard repertoire but doesn’t hesitate to
throw a few curveballs into the mix. Many of those
old chestnuts can get a little hokey, unable to slip
out from the inherently loungey trappings of the
instrument. Numbers like “Tico Tico” and “Girl
From Ipanema” carry on with all the components
of that organ grinder sound, hanging just this side
of Walt Wanderley but Charette seems well aware
of those songs’ reputations and not particularly
concerned about liberating them from their pop-
ulist history. When he slows the pace and lets the
instrument resonate, there is an undeniable sweet-
ness to his sound that goes beyond any cultural
context. “Georgia” and “Body And Soul” take on
a smooth, bluesy hum that shows off the instru-
ment’s relaxed capabilities while a blistering ride
through “I Got Rhythm” showcases Charette’s
quick-fingered mastery of the instrument. The
unexpected numbers however have a weight far
more than one might think they are deserving of.
Hall and Oates’ “Sara Smile” gets a soulful slide
while Bond theme “You Only Live Twice” plays
with the multi-tasking aspects of the hulking key-
board for a soaring meditation. But it’s the title
track that takes the biggest cojones. There can’t be
that many straightahead jazz albums named after
a Madonna song, so cheers to Charette for taking
it there. The performance of “Borderline” works.
The bouncy interaction between the bassline and
melody are seamless, coupling recognition and
disbelief in the same measure, while seeming-
ly opening up a largely untapped musical corner
for playful improvisation. —Sean J. O’Connell

- Downbeat Magazine

Brian Charette
Borderline
SteepleChase 31756

3 1/2 stars

Few people can get away with playing solo organ.
Churches and ballparks will hire someone to
employ all their limbs for the congregation but
it’s a rare sight to get a jazz organist alone. Brian
Charette, on his first solo organ album, tackles a
lot of the standard repertoire but doesn’t hesitate to
throw a few curveballs into the mix. Many of those
old chestnuts can get a little hokey, unable to slip
out from the inherently loungey trappings of the
instrument. Numbers like “Tico Tico” and “Girl
From Ipanema” carry on with all the components
of that organ grinder sound, hanging just this side
of Walt Wanderley but Charette seems well aware
of those songs’ reputations and not particularly
concerned about liberating them from their pop-
ulist history. When he slows the pace and lets the
instrument resonate, there is an undeniable sweet-
ness to his sound that goes beyond any cultural
context. “Georgia” and “Body And Soul” take on
a smooth, bluesy hum that shows off the instru-
ment’s relaxed capabilities while a blistering ride
through “I Got Rhythm” showcases Charette’s
quick-fingered mastery of the instrument. The
unexpected numbers however have a weight far
more than one might think they are deserving of.
Hall and Oates’ “Sara Smile” gets a soulful slide
while Bond theme “You Only Live Twice” plays
with the multi-tasking aspects of the hulking key-
board for a soaring meditation. But it’s the title
track that takes the biggest cojones. There can’t be
that many straightahead jazz albums named after
a Madonna song, so cheers to Charette for taking
it there. The performance of “Borderline” works.
The bouncy interaction between the bassline and
melody are seamless, coupling recognition and
disbelief in the same measure, while seeming-
ly opening up a largely untapped musical corner
for playful improvisation. —Sean J. O’Connell

- Downbeat Magazine

Eating is one of those hard habits to break. It starts the minute a kid comes into the world and ends when he leaves it. So in the meantime, you do what you gotta do to keep it up.

"The story is when I moved to New York 20 years ago, I was playing piano and I was starving," said Brian Charette in a Skype call from Prague. "On a whim, I bought a Hammond XB2 and a small 302 speaker."

"That night, I started to get calls to play organ gigs," said Charette, who brings his trio to Nighttown Tuesday night."That week, I went from no gigs to have three or four every night."

You might say it's worked out for him. In addition to continuing that eating habit – in moderation, of course – Charette has parlayed his organ skills into a jazz Grammy nomination and finished second to Mike LeDonne in Downbeat magazine's Rising Star poll on organists. His latest CD, "Music for Organ Sextette," is starting to show up on a lot of best of the year lists, including that of NY Jazz magazine, and this one from Something Else! Reviews:

"Charette had a great idea to shake up the traditional organ combo format by adding four horns to it and offered something unique that succeeded not because of the idea, but because the idea was executed so well," wrote critic S. Victor Aaron.

The B3 – his current organ of choice – is more common in rock circles, but it's not unheard of in jazz. It's just rare, which works to Charette's advantage.

"It is a typical instrument for jazz, but there are few people that really play it," he said. "There are thousands of piano players, but many fewer real organists. That also is why I like the organ."

Oddly enough, Charette hasn't been a lifelong jazz guy. His schooling at the University of Connecticut and the Hartt School of Music in his home state was in classical piano, his first instrument.

"I was not a prodigy. I was in my late 30s before I started to play on the level I needed to play on to be a contender," said Charette, who just turned 40. "It was very difficult for me and I worked very hard at it."

Naturally, there had to be inspiration, and it came from some unusual sources.

"I came to it [his specific organ sound] not through jazz, but just listening to the music of Emerson, Lake and Palmer and Yes," Charette said. "Keith Emerson and Rick Wakeman were improvising in those groups. Emerson is the bridge – a rock musician, but versed in jazz and classical. That's when I began to understand about jazz harmonies."

But that thought process has added a different dimension to Charette's style of jazz, which is not so much about precise playing as it about emotional impact.

"I don't care about mistakes," he said of his bands – he uses different lineups depending on where he's playing. "I don't care if they play the parts exactly right. I want it to have emotional impact and I want it to involve the audience."

He calls his shows almost performance art. Entertaining performance art.

"I don't want to lump jazz into a category, but a lot of jazz is uptight, very controlled," he said. "Nobody is smiling. My aim for this group is to have jazz music everyone can enjoy and tap their feet to.

"I want girls to like it," he said. "It's rare to see girls at some jazz concerts," he said. "I want it to be for everybody." And that is why there are elements of reggae, hard rock and other genres in his music, sort of a jazz-seasoned smorgasbord.

Gee, is anybody else hungry? - The Plain Dealer

Organ jazz doesn’t get any more interesting or cutting-edge than this richly arranged, characteristically witty, high-energy session with Charette on the B3 along with John Ellis taking a turn on bass clarinet, Jay Collins on flute, Joel Frahm on tenor, Mike DiRubbo on alto and Jochen Rueckert on drums. Eclectic themes – a reggae trope gone to extremes, a baroque fugue, jaggedly Messiaenic funk and gospel grooves – make a launching pad for witty repartee. - Lucid Culture

As a jazzman, Brian Charette has backed Joni Mitchell, Chaka Khan and Joe Jackson at Central Park's Summerstage, and proved an accomplished solo Hammond organist on top of that. He has also been nominated for a Grammy, though not at all as a jazzman: His nod came for a comedy album that he participated on in a largely production capacity. In 2003, he worked the levels on the Warner Bros. debut album for comedian Robert Smigel, a writer for Conan O'Brien and Saturday Night Live's "TV Funhouse" bits, not to mention the voice of Triumph, the Insult Comic Dog.

It was indeed on that very Yugoslavian Mountain Hound's Come Poop With Me that Charette and Co. got the near-Grammy recognition by extension. The dog rings up STD hotlines and calls cats the C-word, and sings a bunch with celebrity guests.

"I was not playing very much at the time," Charette writes in an e-mail. "The album was a big hit, but the content is a little profane, lots of swear words and sexual humor, so I'm a little on the fence about how I feel about it."

Charette does feel good, however, about playing his original jazz in Prague: He has done so several times in the past two years. Back in New York City, he has a Czech girlfriend, and, over on this side, he is simply awed by Prague and its cultural investments and rewards.
Brian Charette
When: Dec. 5, 6 and 9
Where: Dec. 5 at Reduta, Dec. 6 and 9 at Jazz Dock
Web: Kungfugue.com

"I feel like the arts are so respected in this city, especially jazz music," Charette writes. "There is a feeling here like NYC had to me when I first moved there: lots of interesting bands and players and an audience that has great interest in the performances. NYC is so expensive now that most of my artist friends can't even afford to live there anymore. As a result, the crazy types (my favorites) aren't really around as much as they used to be."

He also notes that, for a city its size, Prague has a disproportionate number of jazz venues, and Charette should know this as he has so far played at a handful.

"I just want to say that I love playing music in Prague," Charette writes. "Of all the places I've been, it's my favorite place to be an artist. I feel like the scene for jazz music is especially great here."

Fans can prove Charette and his stagemates right by showing their support at one of three shows through Sunday, Dec. 9.
- Prague Post

As a jazzman, Brian Charette has backed Joni Mitchell, Chaka Khan and Joe Jackson at Central Park's Summerstage, and proved an accomplished solo Hammond organist on top of that. He has also been nominated for a Grammy, though not at all as a jazzman: His nod came for a comedy album that he participated on in a largely production capacity. In 2003, he worked the levels on the Warner Bros. debut album for comedian Robert Smigel, a writer for Conan O'Brien and Saturday Night Live's "TV Funhouse" bits, not to mention the voice of Triumph, the Insult Comic Dog.

It was indeed on that very Yugoslavian Mountain Hound's Come Poop With Me that Charette and Co. got the near-Grammy recognition by extension. The dog rings up STD hotlines and calls cats the C-word, and sings a bunch with celebrity guests.

"I was not playing very much at the time," Charette writes in an e-mail. "The album was a big hit, but the content is a little profane, lots of swear words and sexual humor, so I'm a little on the fence about how I feel about it."

Charette does feel good, however, about playing his original jazz in Prague: He has done so several times in the past two years. Back in New York City, he has a Czech girlfriend, and, over on this side, he is simply awed by Prague and its cultural investments and rewards.
Brian Charette
When: Dec. 5, 6 and 9
Where: Dec. 5 at Reduta, Dec. 6 and 9 at Jazz Dock
Web: Kungfugue.com

"I feel like the arts are so respected in this city, especially jazz music," Charette writes. "There is a feeling here like NYC had to me when I first moved there: lots of interesting bands and players and an audience that has great interest in the performances. NYC is so expensive now that most of my artist friends can't even afford to live there anymore. As a result, the crazy types (my favorites) aren't really around as much as they used to be."

He also notes that, for a city its size, Prague has a disproportionate number of jazz venues, and Charette should know this as he has so far played at a handful.

"I just want to say that I love playing music in Prague," Charette writes. "Of all the places I've been, it's my favorite place to be an artist. I feel like the scene for jazz music is especially great here."

Fans can prove Charette and his stagemates right by showing their support at one of three shows through Sunday, Dec. 9.
- Prague Post

My article on the playing style of Donald Fagan - Keyboard Magazine

Charette had a great idea to shake up the traditional organ combo format by adding four horns to it and offered something unique that succeeded not because of the idea, but because the idea was executed so well. - Something Else

Brian Charette’s Music for Organ Sextette is yet
another step in finding different settings for the
Hammond B3. The music is smart and diverse - all the
tunes are by the organist - and the combination of
organ, drums and four reeds expressively gives voice
to fresh sounds. Charette has a tight, controlled
approach to his instrument and also a terrific sense,
sometimes rare in an organist, of space and even when
and what not to play.
The music has soul, humor, warmth and a sense of
adventure, clearly written with the four horns in mind
(Jay Collins: flute, baritone saxophone, tambourine;
Mike DiRubbo: alto saxophone, soprano saxophone;
Joel Frahm: tenor saxophone; John Ellis: bass clarinet).
On “Late Night TV”, for example, he pays funky
homage to players who earn a living by playing for
television. And on “Fugue for Kathleen Anne” Charette
opens with a paean to Bach, a personal hero; the horns
plays a gorgeous ensemble fugue and then each soloist
plays variations. Charette also pays tribute to Olivier
Messiaen, gospel hymns (though for an agnostic) and
more. Charette, as a composer, player and thinker, has
delivered a gem. - NYC Jazz Record

In today’s ‘modern mainstream’ (Who came up with
this awful term? Is there an ‘antiquated avant garde’?
Actually, yes there is.) players take less from the
compositional lessons of their forbears in lieu of
individual instrumental prowess. Blowing sessions
with interchangeable and forgettable melodies abound
- as long as everyone can solo and solo often. Hammond
organist Brian Charette - possibly modern mainstream,
maybe more main modernstream - is a delightful
exception, as evidenced by a set at Smalls (Aug. 9th) by
his Sextette. Charette can burn as can his interesting
frontline of Itai Kriss (flute), Seamus Blake and Mike
DiRubbo (saxes) and John Ellis (bass clarinet) but his
music is not about blowing for blowing’s sake. He
writes interesting and unique compositions (a step
above ‘tunes’), his currency inventive little twists, and
works from behind the keys as an active arranger.
Much of the music from the first set (slightly marred
by a loud early evening crowd, which included many
soon-to-be-playing musicians) came from Charette’s
recent SteepleChase disc Music for Organ Sextette and
displayed an advanced whimsy. So Charette is a good
composer yet doesn’t take himself too seriously? Call
the police (jazz or otherwise). “Fugue For Katheleen
Anne/Ex Girlfriend Variations” and “The Elvira
Pacifier”, classical and reggae respectively, were the
highlights mainly because Charette’s sidemen believed
in his music, playing their features with concision -
run-scoring singles instead of solo home runs. (AH) - NYC Jazz Record

This fabulous NYC organist sports a wide-ranging résumé, having played with everyone from Joni Mitchell to Max Weinberg, and his inspiration comes from an equally diverse subset, from kung-fu to Olivier Messiaen. Imagine an austere French composer chasing birds while leaping from tree to tree in a yellow Bruce Lee jumpsuit, and you'll have an idea of what this music is about. Charette's arrangements draw upon Messiaen's harmonic innovations, but while Messiaen was ever in pursuit of the sublime, Charette manages to keep things grounded, even earthy. A faithful lifetime church organist, Messiaen might raise an eyebrow over titles like "Computer God" or "Prayer for an Agnostic," but were he to meet Charette, they might have a nice time, comparing scale modes and White Crane to Wing Chun. —Gary Fukushima - LA Weekly

This fabulous NYC organist sports a wide-ranging résumé, having played with everyone from Joni Mitchell to Max Weinberg, and his inspiration comes from an equally diverse subset, from kung-fu to Olivier Messiaen. Imagine an austere French composer chasing birds while leaping from tree to tree in a yellow Bruce Lee jumpsuit, and you'll have an idea of what this music is about. Charette's arrangements draw upon Messiaen's harmonic innovations, but while Messiaen was ever in pursuit of the sublime, Charette manages to keep things grounded, even earthy. A faithful lifetime church organist, Messiaen might raise an eyebrow over titles like "Computer God" or "Prayer for an Agnostic," but were he to meet Charette, they might have a nice time, comparing scale modes and White Crane to Wing Chun. —Gary Fukushima - LA Weekly

great feature in the Oct issue of Hot House Magazine - Hot House

Great interview. We talk about everything from Kung Fu to Girls....and music too - The Jazz session

Great interview. We talk about everything from Kung Fu to Girls....and music too - The Jazz session

I came in 2nd place for "Rising Star: Organ" this year ! - DownBeat

I came in 2nd place for "Rising Star: Organ" this year ! - DownBeat

Brian Charette is out to prove that the
Hammond B3 ain’t just for flexing your
funk chops. His latest CD, Music For Organ
Sextette, serves as a demo reel of the divergent
directions the soul-jazz standby can explore.
Charette has assembled an ensemble with
four horns fronting the rhythm section of
himself and drummer Joechen Rueckert.
“Computer God” offers each member the
opportunity to introduce himself, the angular
head opening into their solo spaces. The album
then takes its first swerve, beginning “Fugue
For Kathleen Anne/Ex Girlfriend Variations”
with a mock-Bach flute/tenor miniature that
then transposes the idea of interlacing voices
into a modern context, as the ensemble improvises
in flowing, overlapping lines.
The reggae riddims of “The Elvira Pacifier”
at first seems a cute step too far on the path
toward genre-hopping for genre-hopping’s
sake, but it’s pulled back by Jay Collins’ mysteriously
intoxicating flute solo and John Ellis’
sinuous bass clarinet insinuations. “Prayer
For An Agnostic” puts scare quotes around
its gospel feel but proves that the spirit is possible
even without the faith. “Mode For Sean
Wayland” reaches into even less familiar directions,
a discordant nod in the direction of avantgarde
composition with a collage of ideas and
areas of free improvisation.
Charette’s deviation from the B3 tradition
isn’t complete, however. “Late Night TV” is
a funk burner, while “Equal Opportunity”
is a Lennie Tristano-inspired swinger and
“Tambourine” is a deceptively bubbly pop
anthem that hides within it another example of
the horns’ contrapuntal possibilities.
—Shaun Brady - Downbeat Magazine

Great Review. We talk about music, the Sextette and Kung fu - Jason Crane

Great Review. We talk about music, the Sextette and Kung fu - Jason Crane

Brian Charette Group (Thursday) The Hammond B-3 organist Brian Charette favors an unusual lineup in this band — two saxophones, clarinet, flute and drums — and makes good use of that palette with his original compositions. He’ll be drawing here not only from a solid recent album on Steeplechase, “Learning to Count,” but also from a forthcoming release on the same label. From 9:30 p.m. to midnight, Smalls Jazz Club, 183 West 10th Street, West Village, (212) 252-5091, smallsjazzclub.com; $20 cover. (Chinen)

- New York Times

Brian Charette
Music for Organ Sextette
SteepleChase

By Bill Milkowski

Determined not to follow the same ol’ bop, blues and ballads formula of most organ-group sessions, Hammond player Brian Charette takes a different route on this renegade sextet outing. Working with four distinct voices—Jay Collins’ flute, John Ellis’ bass clarinet, Joel Frahm’s tenor and Mike DiRubbio’s alto—Charette takes this session to places that Jimmy Smith and Jack McDuff never dreamed of. There’s the Bach-inspired “Fugue for Kathleen Anne/Ex-Girlfriend Variations”; the oddly expressive reggae number “The Elvira Pacifer,” which has Collins quoting from Ornette Coleman’s “Lonely Woman” in his flute solo; and the shape-shifting “Risk,” which perfectly describes Charette’s m.o. throughout this wildly imaginative project. Other original takes on organ-group fare include the odd-metered stop-time vehicle “Computer God,” the Olivier Messiaen-inspired “French Birds” and Charette’s brush with the avant-garde on “Mode for Sean Wayland.” There’s still plenty of boppish burn and blues here—“Equal Opportunity,” the shuffle-swing section of “Risk” and the gospel-tinged “Prayer for an Agnostic”—but no bossa. - Jazz Times

Brian Charette’s Music for Organ Sextette Takes the B3 to the Next Level

Brian Charette’s an interesting guy. He practices an unorthodox style of kung fu; he writes authoritatively on topics like chord voicings in Messiaen; and he plays the Hammond B3 organ like no other jazz musician. That might be because he was on the fast track to a career in classical music before being sidelined by a severe finger injury. So he went into jazz, and the world is richer for it. Charette employs every inch of his B3 for an unexpectedly diverse, rich sonic spectrum. His compositions are counterintuitive, catchy and clever, but not too clever by half. His latest album, Music for Organ Sextette is cerebral and witty, packed with good tunes and good ideas: it shifts the paradigm as far as carving out a place for the organ in jazz is concerned. The band here is superb and rises to the occasion, with John Ellis taking a turn on bass clarinet, Jay Collins on flute, Joel Frahm on tenor, Mike DiRubbo on alto and Jochen Rueckert on drums.

Bright and ambitious, the opening track, Computer God sets the tone, the organ against punchy punctuation from ensemble horns over a bossa beat that morphs into a vivid dichotomy between wicked chromatic chorus and a tricky, circular, riff-driven verse. Charette’s use of the organ’s highest, most keening tones, along with DiRubbo’s occasional diversion into microtones, adds edge and bite. They follow that with a miniature straight out of Scarlatti, Fugue for Katheleen Anne, and then into the Ex Girlfriend Variations, who if the music is to be believed is a nice girl but she just won’t shut up. It’s a soul song, essentially, building to a nimbly orchestrated thicket of individual voices and New Orleans allusions that threaten to completely fall apart but never do. A study in incessant tempo shifts, Risk disguises a soul/blues tune within all kinds of hijinks: a coy fake fanfare from Frahm, an unselfconscious yelp from Charette and an irresistibly amusing trick ending. The funniest track here is The Elvira Pacifier, a spot-on parody of a device that every Jamaican roots reggae band always overdoes in concert. It gives Rueckert the chance to prove he’s a mighty one-drop player; Frahm acquits himself well at ska, but DiRubbo and Ellis don’t take it seriously at all. As they probably shouldn’t.

Equal Opportunity offers a launching pad for all kinds of dynamic contrasts: shifting use of space, lead-ins stepping all over outros, whispery lows versus blithe highs, Charette and DiRubbo using every inch of their registers. Prayer for an Agnostic proves the band just as adept at a slow, sweet 6/8 gospel groove, lit up by a spiraling Collins solo; Late Night TV explores a wry, sometimes tongue-in-cheek go-go vibe and then hits unexpectedly joyous heights. French Birds, a slyly polyrhythmic swing tune, features all kinds of nimble accents from Rueckert and reaches for noir ambience, followed by the creepiest track here, Mode for Sean Wayland, jagged funk juxtaposed against eerie, otherworldly interludes that make psychedelia out of big Messiaenesque block chords. The album ends with Tambourine, the album’s one funky “Chicken Shack” moment that takes a jaunty turn in a Booker T direction. It’s a fun ride, and will make new believers of jazz fans who might mistakenly think that all B3 grooves are created equal. - Lucid Culture

Brian Charette’s Music for Organ Sextette Takes the B3 to the Next Level

Brian Charette’s an interesting guy. He practices an unorthodox style of kung fu; he writes authoritatively on topics like chord voicings in Messiaen; and he plays the Hammond B3 organ like no other jazz musician. That might be because he was on the fast track to a career in classical music before being sidelined by a severe finger injury. So he went into jazz, and the world is richer for it. Charette employs every inch of his B3 for an unexpectedly diverse, rich sonic spectrum. His compositions are counterintuitive, catchy and clever, but not too clever by half. His latest album, Music for Organ Sextette is cerebral and witty, packed with good tunes and good ideas: it shifts the paradigm as far as carving out a place for the organ in jazz is concerned. The band here is superb and rises to the occasion, with John Ellis taking a turn on bass clarinet, Jay Collins on flute, Joel Frahm on tenor, Mike DiRubbo on alto and Jochen Rueckert on drums.

Bright and ambitious, the opening track, Computer God sets the tone, the organ against punchy punctuation from ensemble horns over a bossa beat that morphs into a vivid dichotomy between wicked chromatic chorus and a tricky, circular, riff-driven verse. Charette’s use of the organ’s highest, most keening tones, along with DiRubbo’s occasional diversion into microtones, adds edge and bite. They follow that with a miniature straight out of Scarlatti, Fugue for Katheleen Anne, and then into the Ex Girlfriend Variations, who if the music is to be believed is a nice girl but she just won’t shut up. It’s a soul song, essentially, building to a nimbly orchestrated thicket of individual voices and New Orleans allusions that threaten to completely fall apart but never do. A study in incessant tempo shifts, Risk disguises a soul/blues tune within all kinds of hijinks: a coy fake fanfare from Frahm, an unselfconscious yelp from Charette and an irresistibly amusing trick ending. The funniest track here is The Elvira Pacifier, a spot-on parody of a device that every Jamaican roots reggae band always overdoes in concert. It gives Rueckert the chance to prove he’s a mighty one-drop player; Frahm acquits himself well at ska, but DiRubbo and Ellis don’t take it seriously at all. As they probably shouldn’t.

Equal Opportunity offers a launching pad for all kinds of dynamic contrasts: shifting use of space, lead-ins stepping all over outros, whispery lows versus blithe highs, Charette and DiRubbo using every inch of their registers. Prayer for an Agnostic proves the band just as adept at a slow, sweet 6/8 gospel groove, lit up by a spiraling Collins solo; Late Night TV explores a wry, sometimes tongue-in-cheek go-go vibe and then hits unexpectedly joyous heights. French Birds, a slyly polyrhythmic swing tune, features all kinds of nimble accents from Rueckert and reaches for noir ambience, followed by the creepiest track here, Mode for Sean Wayland, jagged funk juxtaposed against eerie, otherworldly interludes that make psychedelia out of big Messiaenesque block chords. The album ends with Tambourine, the album’s one funky “Chicken Shack” moment that takes a jaunty turn in a Booker T direction. It’s a fun ride, and will make new believers of jazz fans who might mistakenly think that all B3 grooves are created equal. - Lucid Culture

O americkém varhaníkovi Brianu Charettovi (rocník 1972) tvrdí text na obalu jeho v Dánsku vydaného CD, že polovinu svého casu tráví v New Yorku, a druhou polovinu v Praze. Tento mesíc Charett v Cesku zahraje devet koncertu v rozmezí od 2. do 19. kvetna – a to v Praze (v Redute a v Jazz Docku), v Moste, ve Zlíne, Svitavách, Vyškove, Frýdku-Místku, v Novém Meste a v Ústí nad Labem. To je dostatecný duvod, proc predstavit jeho nejnovejší album Music For Organ Sextette, které vyšlo u renomované dánské spolecnosti SteepleChase.
Brian Charette a jeho sextet Další 2 fotografie v galerii
Brian Charette a jeho sextet | foto: www.kungfugue.com

Hammondovy varhany jsou v jazzu spjaty se zvukem kousavých a barevne bohatých akordu Jimmyho Smithe - typickým do takové míry, až se z nej u jeho následníku stalo urcité klišé. Izraelský Sam Yahel a po nem i náš Ondrej Pivec zkusili vyrazit vlastní cestou, která by se bežnému stereotypu vyhýbala. Brian Charette (už pred nimi) šel ješte dál.
O albu

Brian Charette: Music For Organ Sextette

CD, stopáž 67:37 minut. Vydala firma SteepleChase Music.
Obal alba Brian Charette: Music For Organ Sextette

Obal alba Brian Charette: Music For Organ Sextette

Jako pianista si Charette od detství získal dobrou znalost klasické hudby, od Bacha až k Olivieru Messiaenovi. V jeho hudbe je to slyšet. Deset puvodních skladeb alba Music For Organ Sextettte predstavuje osobitý post-modernistický soubor, v nemž varhany pusobí témer jako strídme uplatnované piano doprovázející dechy (flétnu plus strídave sopránku, altku, tenor, baryton a basklarinet, zato bez typického ostrejšího rejstríku trubky). Dechy jsou obcas aranžovány v sekci pripomínající zvuk a frázování témer swingového big bandu, jindy se ozývají v postbopových sólech, nekdy se zase proplétají ve smesici s témer freejazzovou uvolneností. V sólech se nejvýrazneji uplatnuje flétna Jay Collinse a tenor Joela Frahma (castého partnera našich mladších jazzmanu).
Brian Charette

Brian Charette

Nejzajímaveji pusobí záver alba Music For Organ Sextettte: v desetiminutovce Mode for Sean Wayland na sebe nekteré krátké úseky navazují odmlkami, treba i s neocekávanými zvraty, ci se zmenou tempa nebo nálady, pricemž celek neztrácí dojem souvislosti a prubežné napetí. O neco kratší poslední skladba Tambourine poskytne varhanám prece jen ponekud víc místa a efektní propletenec hlasu s necekaným koncem nabízí príkladnou ukázku, jak také muže dnešní jazz znít, aniž by se prihlašoval k nejakému pevne definovanému
stylu.

- DNES Praha

Finding an organ in a gathering of more than four in jazz seems to be taboo, yet no logic exists behind this unspoken truth. The organ is constantly making friends with guitars and drums, with the occasional singular horn dropping by to converse with them, but the possibility of a broader social circle always seems to elude this unwieldy instrument. Thankfully, organist Brian Charette is helping to rectify this issue.

On Music For Organ Sextette, Charette weaves a unique and gripping aural tapestry together with a mélange of woodwinds serving as the thread. He channels his energy into creating constructs that benefit from the blending of multiple voices, yet remain flexible enough to allow for outspoken soloists to have their say. Charette's organ voice is prominent throughout as he cuts swaths through the sonic fields that lay before him and rides the tides of energy created by drummer Jochen Rueckert, but this outing is a true team effort.

The personnel list remains consistent from start to finish, but stylistic direction does not. Charette explores reggae ("Elvira Pacifier"), touches on churchy hymns with intentionally ironic titling ("Prayer For An Agnostic") and dabbles in outré modernism ("Mode For Sean Wayland"). His funky side comes out on occasion ("Late Night TV" and "Tambourine") and swing sneaks into the party ("Equal Opportunity"), but no single style reigns supreme on this tasting menu of music.

All four horns distinguish themselves as individuals, but they work even better as a unit. They move through the Baroque-influenced "Fugue For Kathleen Anne" with sensitivity and end up engaging in a raucous game of musical twister atop Rueckert's Tony Williams-meets-Clyde Stubblefield drumming when the music morphs into "Ex Girlfriend Variations." "Tambourine," likewise, benefits from their delightfully dovetailing lines, but they can also be found making magic with simple riffs in various places.

Music For Organ Sextette is an anomaly in the world of organ-centric jazz, but not for the obvious reason. It's a recording that emphasizes the importance of textural exploration, multiple stylistic personalities, groove variations and the balance between group dynamics and solo statements. Charette challenges the status quo with this one and winds up the victor in every way.

Track Listing: Computer God; Fugue For Katheleen Anne/Ex Girlfriend Variations; Risk; The Elvira Pacifier; Equal Opportunity; Prayer For An Agnostic; Late Night TV; French Birds; Mode For Sean Wayland; Tambourine.

Personnel: Brian Charette: organ; Jochen Rueckert: drums; Jay Collins: flute; Mike DiRubbo: alto saxophone; Joel Frahm: tenor saxophone; John Ellis: bass clarinet. - Dan Bilawsky

While there've been a few exceptions, many jazz organ-based recordings deliver the same old grind of not deviating too far from the Jimmy Smith or Charles Earland grease and grits format. But not in the case of Brian Charette's Music for Organ Sextette , a release that balances harmonically complex ideas with catchy melodies.

The Grammy nominated artist has worked with names from Chaka Khan to Joni Mitchell, is active in New York and has released a number of recordings, but what sets this release apart from the rest is Charette's open musicality and execution with a tight, reed-based sextet.

The first thing that's noticed is the organist's stylistic imprint —a Larry Young-like vibe that's tempered with technique and lyricism. Charette's playing not only swings but also contains a certain quirkiness that's very cool on "Computer Games," as it freely moves through a range of the B3's harmonics. Then there's the way the horns are arranged (flute, alto and tenor sax, and baritone), with brief solos dealt in good force by consummate reed players that include the likes of Joel Frahm.

Charette's writing leaves room for both humor and austerity in "Fugue for Katheleen Anne/Ex Girlfriend Variations," a piece with classical and swing elements, while "Prayer For An Agnostic" that where the horns testify with proud solos as the organ croons out a lovely hymnal flavored melody. Some reggae-skanking surfaces in "The Elvira Pacifier" but the crème-de-la- crème joint is "Mode For Sean Wayland." With a nod to another New York pianist, Australian expat Sean Wayland, it contains harmonic techniques from French composer/organist Olivier Messiaen (1908-1992) and nasty reed playing à la Eric Dolphy from flautist Jay Collins and versatile saxophonist John Ellis on baritone.

There's also a nod to jam band groupies in "Tambourine," with some N'awlins street dancing thrown in for good measure, showing that Charette's unusual sextet can get the party started in a variety of ways. In the end, Music for Organ Sextette circumvents the norm and that's a very cool thing.

Track Listing: Computer God; Fugue for Katheleen Anne/Ex Girlfriend Variations; Risk; The Elvira Pacifier; Equal Opportunity; Prayer For An Agnostic; Late Night TV; French Birds; Mode For Sean Wayland; Tambourine.

Personnel: Brian Charette: organ; Jochen Rueckert: drums; Jay Collins: flute; Mike DiRubbo: alto saxophone; Joel Frahm: tenor saxophone; John Ellis: bass clarinet. - All About Jazz

If you're a fan of Josh Jackson and WBGO-FM's "The Checkout", you may remember hearing organist Brian Charette play with his Sextette last May (check it out here) - perhaps, like me, you really enjoyed the mix of reeds, drums and B-3. The 3 pieces they played live in the studio whetted my appetite for the upcoming Steeplechase CD but then I never saw it.

Brian was kind enough to send the mp3s that make up "Music for Organ Sextette" and, believe me, this is one fine group and CD. Charette has assembled an impressive lineup, starting with the excellent drummer Jochen Rueckert, alto saxophonist Mike DiRubbo, flutist Jay Collins, bass clarinetist John Ellis and tenor saxophonist Joel Frahm. With all this "firepower", the program Charette creates for his ensemble will surprise you. There are moments the arrangements really swing, like on the opener "Svichkova", with Charette's bass pedal work locked in with Rueckert's drumming. "Fugue FKA/ EGF Variations" opens as if written by JS Bach while the second half has a serious groove; yet, the reeds come in one at time. First the tenor, then alto, followed by flute and finally bass clarinet all playing a round, especially when the organ joins the fray. The melodic arrangement for the reeds on "French Birds" may remind one of the sound of the World Saxophone Quartet. Every one solos but no one goes on too long and the results are rewarding.

"Elvira" is playful, a delightful melody over a reggae beat, with each soloist getting a different emphasis in the rhythm section beneath them. "Tambourine" blends New Orleans melody and harmonies (love the blend of flute and alto sax on the melody section) over seriously funky drumming - Reuckert is both a dynamo and painter throughout the CD, whether it's the James Brown opening of "Late Night T.V." or his exquisite cymbal work on "Equal Opportunity" or his ability to quickly shift gears as he demonstrates on the mysterious "Mode for Sean Wayland" (dedicated to the contemporary Australian-born keyboard artist.) Charette has a keen sense of humor; can't help but praise the gospel setting for "Prayer For An Agnostic" (with an Ellingtonian feel in the melody line by the reed ensemble) and the "testifying" solos, each one more soulful than the one before.

It's hard to single out one soloist, everyone plays so well. Relaxed yet intense, with rhythms that caress you one moment, push you up out of your seat the next. Pay attention to the arrangements, to the textures of the reeds as they move with and around each other, notice the different sounds from the organ as well as the first-class work of the drummer. Then, just sit back and let it enter your soul - because this music, more often than not, is quite satisfying. Brian Charette and his Sextette makes honest and joyous music. You should seek out this fine recording. For more information, go to www.kungfugue.com. - Richard Kamins

How to write for a section - Keyboard Magazine

There’s a modernist/ classical music approach here, with Charette’s B3 holding its own amid a bright and ambitious horn section and added propulsion from drummer Jochen Rueckert. The horn choir is solid, with Jay Collins on flute, Mike DiRubbo on alto sax, Joel Frahm on tenor sax and John Ellis on bass clarinet. Charette’s writing is clever and whimsical. Dig, for example, “Fugue for Kathleen Anne/Ex-Girlfriend Variations” and “The Elvira Pacifier.” “Prayer for an Agnostic” ironically is one of the most soulful tracks. “Late Night TV” and “Tambourine” are the most robust. - Jazz Notes

Musician Brian Charette leads a very dynamic life. An expert purveyor of the Hammond B3 organ jazz tradition, Charette has recorded and performed with a variety of musical personalities including Joni Mitchell, Lou Donaldson, The Max Weinberg 7 and Chaka Khan. Charette is also a practitioner of White Crane kung fu in which he holds a black sash. His ensemble of top-tier New York-based musicians is an organ sextette with the somewhat unusual, yet refreshingly different instrumentation of organ, drums and a four-horn front line.

The group is in simmering from on its SteepleChase recording Music for Organ Sextette. Even with the clutter of woodwinds the music maintains a tight small group vibe with plenty of room for blowing. Saxophonists Mike DiRubbo and Joel Frahm seem to inspire each other to create one astonishing solo after another. The two are in fine form on the hard swinging "Equal Opportunity." John Ellis' bass clarinet adds an interesting timbre to the disc. Ellis contributes strong performances, especially on "French Birds," which also features Jay Collins' flute work.

Charette's writing is as memorable as his post-Larry Young style, churning out clever melodies over meaty harmonies and orchestrations. The chamber-like soul of "Fugue FKA/EGF Variations" is a compositional highlight. - The Jazz Word

Musician Brian Charette leads a very dynamic life. An expert purveyor of the Hammond B3 organ jazz tradition, Charette has recorded and performed with a variety of musical personalities including Joni Mitchell, Lou Donaldson, The Max Weinberg 7 and Chaka Khan. Charette is also a practitioner of White Crane kung fu in which he holds a black sash. His ensemble of top-tier New York-based musicians is an organ sextette with the somewhat unusual, yet refreshingly different instrumentation of organ, drums and a four-horn front line.

The group is in simmering from on its SteepleChase recording Music for Organ Sextette. Even with the clutter of woodwinds the music maintains a tight small group vibe with plenty of room for blowing. Saxophonists Mike DiRubbo and Joel Frahm seem to inspire each other to create one astonishing solo after another. The two are in fine form on the hard swinging "Equal Opportunity." John Ellis' bass clarinet adds an interesting timbre to the disc. Ellis contributes strong performances, especially on "French Birds," which also features Jay Collins' flute work.

Charette's writing is as memorable as his post-Larry Young style, churning out clever melodies over meaty harmonies and orchestrations. The chamber-like soul of "Fugue FKA/EGF Variations" is a compositional highlight. - The Jazz Word

"Feel it," says the New York-based organist Charette, offering his pinky finger. "It's fused." We are standing at the bar of a small French bistro in Manhattan, having just met five minutes prior. His pinky finger is fixed into a permanent crook due to an amp falling on it ten years ago. "I can't play classical anymore" says Charette examining his damaged digit. "But I can still play jazz!"

Charette is the consummate road-warrior, and he has the scars to prove it. His pulpy organ sound has backed such disparate artists as soul-jazz legend Lou Donaldson and scarf-draped dandy Rufus Wainwright. This Tuesday Charette plays the first of three gigs in Los Angeles at the Mint alongside guitarist Greg Erba and drummer Andy Sanesi.

The night before we met, Charette played a gig in Boston. The next day, he was bound for Prague. After Los Angeles comes a couple of weeks in Southeast Asia. This dedication to gigging, although not much for his social life, has brought him before a lot of crowds. "I play about 330 gigs a year. In New York in the '90s, I'd play ten or eleven gigs a week!" He adds wistfully: "Those days are long gone."

To make up for it Charette has taken to what many stability-craving musicians do: he's teaching. "I just started writing these master class articles for Keyboard magazine. They're a lot of fun and the response has been great." Tackling subjects like orchestration and chord voicings, Charette has found a forum for his techniques, and he offers private lessons via Skype.

Charette has a controlled sound on the organ, taking a classic approach to both technique and instrumentation with his bands. His nimble lines follow in the footsteps of B3 masters like Jimmy Smith and Dr. Lonnie Smith. His patience and deliberation led WBGO tastemaker Josh Jackson to declare Charette a "master of space and time."
But Charette isn't just master of musical battles. As his website kungfugue.com attests, Charette could probably beat the shit out of you too; after all, he holds a "black sash" in White Crane kung fu, whatever that is. After ten years of study with a few less-than-stable mentors, Charette could probably do some damage, crooked pinky and all. He is even embarking on a project to bring his passions together, incorporating kung fu into his music like modern dance.

For now, Charette is focused on playing as many gigs as it takes to pay the rent. Despite being warmly embraced by the people of the Czech Republic finding an audience in sunnier domestic climates has proven difficult. "I have put more time into booking Los Angeles than anywhere else," says Charette. "I've made three trips to L.A. in the last year and a half. What's interesting is the crowd but I love it in L.A. I especially like walking there."

Weird! - LA Weekly

"Feel it," says the New York-based organist Charette, offering his pinky finger. "It's fused." We are standing at the bar of a small French bistro in Manhattan, having just met five minutes prior. His pinky finger is fixed into a permanent crook due to an amp falling on it ten years ago. "I can't play classical anymore" says Charette examining his damaged digit. "But I can still play jazz!"

Charette is the consummate road-warrior, and he has the scars to prove it. His pulpy organ sound has backed such disparate artists as soul-jazz legend Lou Donaldson and scarf-draped dandy Rufus Wainwright. This Tuesday Charette plays the first of three gigs in Los Angeles at the Mint alongside guitarist Greg Erba and drummer Andy Sanesi.

The night before we met, Charette played a gig in Boston. The next day, he was bound for Prague. After Los Angeles comes a couple of weeks in Southeast Asia. This dedication to gigging, although not much for his social life, has brought him before a lot of crowds. "I play about 330 gigs a year. In New York in the '90s, I'd play ten or eleven gigs a week!" He adds wistfully: "Those days are long gone."

To make up for it Charette has taken to what many stability-craving musicians do: he's teaching. "I just started writing these master class articles for Keyboard magazine. They're a lot of fun and the response has been great." Tackling subjects like orchestration and chord voicings, Charette has found a forum for his techniques, and he offers private lessons via Skype.

Charette has a controlled sound on the organ, taking a classic approach to both technique and instrumentation with his bands. His nimble lines follow in the footsteps of B3 masters like Jimmy Smith and Dr. Lonnie Smith. His patience and deliberation led WBGO tastemaker Josh Jackson to declare Charette a "master of space and time."
But Charette isn't just master of musical battles. As his website kungfugue.com attests, Charette could probably beat the shit out of you too; after all, he holds a "black sash" in White Crane kung fu, whatever that is. After ten years of study with a few less-than-stable mentors, Charette could probably do some damage, crooked pinky and all. He is even embarking on a project to bring his passions together, incorporating kung fu into his music like modern dance.

For now, Charette is focused on playing as many gigs as it takes to pay the rent. Despite being warmly embraced by the people of the Czech Republic finding an audience in sunnier domestic climates has proven difficult. "I have put more time into booking Los Angeles than anywhere else," says Charette. "I've made three trips to L.A. in the last year and a half. What's interesting is the crowd but I love it in L.A. I especially like walking there."

Weird! - LA Weekly

Brian Charette: Learning to Count (2009 [2011], SteepleChase): Organ player, fourth album since 2000 (according to AMG and his website, although the latter doesn't list them, and the former doesn't include one I've heard from 2008 (Missing Floor) and a newer Music for Organ Sextette that I have a CDR of. This is a trio, with Mike DiRubbo on alto sax and Jochen Rückert on drums -- same idea as DiRubbo's Chronos earlier this year (which had Rudy Royston on drums), the writing credits favoring the leader in both cases (with this one adding three covers: Wayne Shorter, John Lewis, Steve Winwood). DiRubbo's always a terrific mainstream player, so the main difference seems to be in the writing: Charette is wonderfully restrained, nudging the pieces forward without showboating let alone wallowing in soul jazz clichés. I hear a lot of organ records and usually wonder: why bother? This works. A- - Tom Hull

Brian Charette’s second SteepleChase album is a
vibrant and eclectic collection of originals and
standards culled from various points on the musical
compass. This burgeoning master of the Hammond B3
organ and his trio play with an élan that’s infectious
and exhilarating. On boogaloo tunes like “Lawrence of
Detroit” and “Partita Boy” and timeless classics like
“Juju” and “Milestones”, the trio grooves wickedly.
Alto saxophonist Mike DiRubbo’s ideas and energy are
seemingly inexhaustible, drummer Jochen Rueckert
displays an impressive polyrhythmic complexity
within the elemental framework of keeping time and
Charette expresses his boundless creativity through
cyclonic runs and stinging single-note articulation.
DiRubbo jumps out of the box throwing haymakers
on “Air on a Sunny String”, soloing with fire as
Charette and Rueckert percolate beneath him. The
saxist then cools down for the solemn ballad
“Hungarian Bolero”, Charette initially growling softly
beneath him then surfacing with an understated solo
while Rueckert’s soft mallet work augments the somber
mood.
There’s a small venture into rock ‘n’ roll with
Steve Winwood’s Traffic-era tune “Empty Pages” but
Charette has arranged the song with plenty of room for
some badass jazz improvisation while keeping true to
the song’s pedigree. “Two Slightly Different Indian
Scales” features uncluttered East Indian-styled alto,
intense organ and a barehanded message to the village
drum patter. Rueckert stretches out on the electrically
charged “Good Tipper”, particularly during an
incendiary exchange with Charette. The title cut, with
its high-energy turns, is in the same neighborhood as
Coltrane’s “Countdown”.
This is a tight, swinging trio that cooks in any
genre and makes some dynamite music on Learning to
Count. The nature of jazz groups lately is somewhat
transient due to economic factors; let’s hope that
Charette’s trio somehow manages to stay together for a
long while. - NYC Jazz Record

Reliably smoking B3 player Brian Charette joins alto saxophonist Mike DiRubbio and drummer Jochen Rueckert on a romp through several swinging originals as well as faithful covers of Steve Winwood’s “Empty Pages,” Wayne Shorter’s “Juju” and John Lewis’ “Milestones.” Charette’s tempo-shifting, chops-busting “Air on a Sunny String” is a good indicator of this trio’s freshness within the age-old organ-trio format. Their chemistry is tight throughout, paced by the organist’s driving basslines and Rueckert’s insistently swinging ride cymbal work. The drummer positively cooks on the title track, which is based on Trane’s “Countdown,” and the band exhibits a loose-tight hookup on Charette’s funky boogaloo “Lawrence of Detroit,” the relaxed 4/4 swinger “Flippin’ the Bird” and the oddly compelling organ-drums duet, “Partita Boy.” - Jazz Times

Reliably smoking B3 player Brian Charette joins alto saxophonist Mike DiRubbio and drummer Jochen Rueckert on a romp through several swinging originals as well as faithful covers of Steve Winwood’s “Empty Pages,” Wayne Shorter’s “Juju” and John Lewis’ “Milestones.” Charette’s tempo-shifting, chops-busting “Air on a Sunny String” is a good indicator of this trio’s freshness within the age-old organ-trio format. Their chemistry is tight throughout, paced by the organist’s driving basslines and Rueckert’s insistently swinging ride cymbal work. The drummer positively cooks on the title track, which is based on Trane’s “Countdown,” and the band exhibits a loose-tight hookup on Charette’s funky boogaloo “Lawrence of Detroit,” the relaxed 4/4 swinger “Flippin’ the Bird” and the oddly compelling organ-drums duet, “Partita Boy.” - Jazz Times

Organist Brian Charette has a pretty interesting CD—he's studied classical piano, worked with Joni Mitchell, Lou Donaldson, Cyndi Lauper and more and done producing and engineering. Missing Floor finds him in what would be a standard organ trio format but his use of electronics and his adventurous approach make this an out-of-the-ordinary listening experience. Mention should be made upfront that the recording was done completely analog and the sound is immediate and powerful.

It might be too easy to suggest that Larry Young is the main inspiration for the tunes and playing here, but that seems the sonic world from which this album emerges. Charette digs deeply and differently into, for example, Wayne Shorter's "ESP," ably assisted by drummer Jochen Rueckert, and knocks out a quick, incisive version that opens up in a short time to reveal the tune's inherent richness and more. The group does the same with Woody Shaw's "Moontrane" and then, surprisingly, a funky version of "The Honeydripper". An even more startling transformation comes with the way Charette phrases and chords Rodgers-Hart's "Spring is Here". It truly does sound like a new season but one in which the flora are not so familiar. Surprisingly enough, most of the music on this head-turning set was created by just Charette and his drummer. But there are some more surprising sound extras here. Saxist Leon Gruenbaum plays some slashing alto on "Pings" and has a beautiful piano feature on "Wu Wei". On several of the other tracks he plays an instrument of his own invention, a samchillian. In combination with the composer on laptop, the enhanced sonic environment adds even greater depth to this heady and enriching set of new music. - All About Jazz

Organist Brian Charette has a pretty interesting CD—he's studied classical piano, worked with Joni Mitchell, Lou Donaldson, Cyndi Lauper and more and done producing and engineering. Missing Floor finds him in what would be a standard organ trio format but his use of electronics and his adventurous approach make this an out-of-the-ordinary listening experience. Mention should be made upfront that the recording was done completely analog and the sound is immediate and powerful.

It might be too easy to suggest that Larry Young is the main inspiration for the tunes and playing here, but that seems the sonic world from which this album emerges. Charette digs deeply and differently into, for example, Wayne Shorter's "ESP," ably assisted by drummer Jochen Rueckert, and knocks out a quick, incisive version that opens up in a short time to reveal the tune's inherent richness and more. The group does the same with Woody Shaw's "Moontrane" and then, surprisingly, a funky version of "The Honeydripper". An even more startling transformation comes with the way Charette phrases and chords Rodgers-Hart's "Spring is Here". It truly does sound like a new season but one in which the flora are not so familiar. Surprisingly enough, most of the music on this head-turning set was created by just Charette and his drummer. But there are some more surprising sound extras here. Saxist Leon Gruenbaum plays some slashing alto on "Pings" and has a beautiful piano feature on "Wu Wei". On several of the other tracks he plays an instrument of his own invention, a samchillian. In combination with the composer on laptop, the enhanced sonic environment adds even greater depth to this heady and enriching set of new music. - All About Jazz

New York City-based jazz organist and composer Brian Charette returns with the swirling, saxophone-peppered release Learning to Count. Charette’s slinky, Larry Young-like organ tones and tunes shine here, especially alongside the dirty grooves of fellow bandmates Mike DiRubbo and Jochen Ruckert. Check out the track “Air On a Fast String” for an example of Charette’s modern take on a timeless sound. (Steeple Chase) - Keyboard Magazine

New York City-based jazz organist and composer Brian Charette returns with the swirling, saxophone-peppered release Learning to Count. Charette’s slinky, Larry Young-like organ tones and tunes shine here, especially alongside the dirty grooves of fellow bandmates Mike DiRubbo and Jochen Ruckert. Check out the track “Air On a Fast String” for an example of Charette’s modern take on a timeless sound. (Steeple Chase) - Keyboard Magazine

New York pianist and organist Brian Charette offers a new album playing the laptop and piano but is primarily heard on the Hammond B3 organ, recording ten originals and four covers with his unique organ trio modal joined by Jochen Rueckert on the drums and Leon Gruenbaum performing on the saxophone, samchillian and the piano on the tune “Three Lights.” A martial arts expert and avid chess player, the press clippings suggest that Charette draws on the discipline required for Kung Fu and chess as inspirations for the compositions found here.

Missing Floor was recorded live to analog tracks at the famed System Two Studios in Brooklyn, NY. While Charette claims musical influences from Bach and the rock band Kiss, this CD bares no resemblance to neither as the organist presents a modern jazz repertoire with a touch of the electronica sound to make it interesting. Charette borrows from Wayne Shorter to present a lively up beat rendition of “E.S.P.” and also touches upon the eternal Rodgers & Hart classic “Spring is Here” where he showcases his keyboard virtuosity with dazzling lines. The other20well known standard found here is Woody Shaw's immortal “Moontrane,” though lasting for only a brief time, is nevertheless memorable.

The tunes “Giant Deconstruction,” and the finale “Aleatron” are on the other hand quite forgettable as Charette uses electronic enhancements to churn out a bit of electronica noise. This stuff may be appealing to some very open minded modernist but quite alienating to traditional jazz audiences. Yet, on his original “Wu Wei” the organist becomes a piano player laying down one beautiful ballad. An over all appraisal of Missing Floor would have to conclude that this is indeed by far, an interesting session of modern jazz that one can appreciate. Brian Charette's organ trio explores a different path than what ordinary jazz trio's are accustomed to playing, then again Mr. Charette does not seem to be satisfied with being ordinary.

- ejazznews

New York pianist and organist Brian Charette offers a new album playing the laptop and piano but is primarily heard on the Hammond B3 organ, recording ten originals and four covers with his unique organ trio modal joined by Jochen Rueckert on the drums and Leon Gruenbaum performing on the saxophone, samchillian and the piano on the tune “Three Lights.” A martial arts expert and avid chess player, the press clippings suggest that Charette draws on the discipline required for Kung Fu and chess as inspirations for the compositions found here.

Missing Floor was recorded live to analog tracks at the famed System Two Studios in Brooklyn, NY. While Charette claims musical influences from Bach and the rock band Kiss, this CD bares no resemblance to neither as the organist presents a modern jazz repertoire with a touch of the electronica sound to make it interesting. Charette borrows from Wayne Shorter to present a lively up beat rendition of “E.S.P.” and also touches upon the eternal Rodgers & Hart classic “Spring is Here” where he showcases his keyboard virtuosity with dazzling lines. The other20well known standard found here is Woody Shaw's immortal “Moontrane,” though lasting for only a brief time, is nevertheless memorable.

The tunes “Giant Deconstruction,” and the finale “Aleatron” are on the other hand quite forgettable as Charette uses electronic enhancements to churn out a bit of electronica noise. This stuff may be appealing to some very open minded modernist but quite alienating to traditional jazz audiences. Yet, on his original “Wu Wei” the organist becomes a piano player laying down one beautiful ballad. An over all appraisal of Missing Floor would have to conclude that this is indeed by far, an interesting session of modern jazz that one can appreciate. Brian Charette's organ trio explores a different path than what ordinary jazz trio's are accustomed to playing, then again Mr. Charette does not seem to be satisfied with being ordinary.

- ejazznews

As everyone knows, the shortest distance between two points is a straight line. But if we all took that route the world would be a mighty boring place. Organist Brian Charette is one guy who eschews straight lines. Good for us. Charette and drummer Jochen Ruekert have a death grip on the thick groove that supports "Missing Floor." Charette gets it going with a hypnotic walking bassline. Ruekert's brush work is fantastic. At some point he adds a tabla, or facsimile sound. This takes us even farther into the mantra that the duo has developed. We are now firmly stuck in its vortex. I must say that Charette and Ruekert are playing some of the most intriguing and compelling music I have heard of late.

Let's get back to that "straight line" metaphor. Charette plays either the note before the one you'd expect or the one after. It reminds me of my daughter telling me to stay on the same color tile at the mall no matter how far her aging daddy has to jump, or to avoid the cracks in the concrete so as to not to break my mother's back. Charette does the jumping and he plays the cracks. There are no straight lines for him. - jazz.com

As everyone knows, the shortest distance between two points is a straight line. But if we all took that route the world would be a mighty boring place. Organist Brian Charette is one guy who eschews straight lines. Good for us. Charette and drummer Jochen Ruekert have a death grip on the thick groove that supports "Missing Floor." Charette gets it going with a hypnotic walking bassline. Ruekert's brush work is fantastic. At some point he adds a tabla, or facsimile sound. This takes us even farther into the mantra that the duo has developed. We are now firmly stuck in its vortex. I must say that Charette and Ruekert are playing some of the most intriguing and compelling music I have heard of late.

Let's get back to that "straight line" metaphor. Charette plays either the note before the one you'd expect or the one after. It reminds me of my daughter telling me to stay on the same color tile at the mall no matter how far her aging daddy has to jump, or to avoid the cracks in the concrete so as to not to break my mother's back. Charette does the jumping and he plays the cracks. There are no straight lines for him. - jazz.com

Brian Charette is one of many New York City-based jazz musicians seeking to further his career. Following two projects for small labels (the first a self-produced outing), the organist should get greater recognition with this appearance on Steeplechase. Utilizing his working trio with guitarist Ben Monder (who has recorded extensively as a leader and sideman) and drummer Jochen Ruckert, Charette penned nine originals specifically for this session. The humorously titled “Silicone Doll" is not a parody of the famous Ellington ballad, though it is easy to imagine a pretty young lady walking to its catchy theme. The aggressive bop vehicle “Public Transportation" suggests the sudden lane changes in heavy traffic at high speed that stresses the hearts of tourists in New York City, while the lower-key “Altered Waltz" proves equally infectious. Charette's lyrical take of Duke Ellington's “Prelude to a Kiss" allows the ballad plenty of breathing room, with spacious chords on the organ and sensitive use of the volume pedal, while Monder also never adds an unnecessary note, all of it backed by Ruckert's sensitive brushwork. But the trio takes in “U.M.M.G." (aka “Upper Manhattan Medical Group") at a breezy clip, with plenty of fireworks. “Upside," penned by pianist Andy LaVerne for his meeting with organist Gary Versace, is pure groove music with a solid swagger. Brian Charette has staked his claim as one of the top jazz organists of his generation with this superb release. - All Music Guide

New York based organist and composer Brian Charette dishes up equal parts groove and guts on his new release, "Missing Floor".

Nimbly supported by Jochen Rueckert on drums, Charette pays homage to Hammond B3 innovator Larry Young dropping angular lines and modal harmonies across the barlines.

The lone solo piano track "Wu Wei" is a standout for it's stark sonorities and unconventional form. Recorded in a single session to analog tape in Brooklyn's famed Systems Two studios, the album is proof positive that interactive, improvisational music is alive and well in 2008. - Keyboard Magazine

New York based organist and composer Brian Charette dishes up equal parts groove and guts on his new release, "Missing Floor".

Nimbly supported by Jochen Rueckert on drums, Charette pays homage to Hammond B3 innovator Larry Young dropping angular lines and modal harmonies across the barlines.

The lone solo piano track "Wu Wei" is a standout for it's stark sonorities and unconventional form. Recorded in a single session to analog tape in Brooklyn's famed Systems Two studios, the album is proof positive that interactive, improvisational music is alive and well in 2008. - Keyboard Magazine

Brian Charette is a Hammond B3 organist whose previous release “Missing Floor” featured a unique approach to the music using the laptop and other electronics to produce an interesting set of modern jazz. With his debut on the SteepleChase label, Charette returns to traditional jazz roots offering a vibrant and tasteful session of contemporary jazz on “Upside,”complete with fresh interpretations of classic standards from the likes of Duke Ellington and Billy Strayhorn.


This new album features a trio format with veteran New York guitarist Ben Monder and German-born Jochen Ruckert providing the stick and rudder work for a basically all rhythm-based front.

The Charette original “Silicone Doll” seems to set the tone and theme for this album sounding a bit like the Ellington classic “Satin Doll,” the melody is jazzy and very traditional in stark contrast to the organist's previous outing. The following “Look Elsewhere,” travels down the same road presenting a series of elegant solo shots from Charette as Monder plays the bass line and Ruckert crashes the cymbals on one of the better pieces here. “Public Transportation” is a searing fast-paced bebop number delivered in hard-driving fashion.

The organist goes it alone with a beautiful solo performance on the oft recorded Carl Fischer jazz standard “You've Changed” provided an extra warm treatment to a naturally gentle tune. Ellington's “Prelude to a Kiss” offers the only other ballad on the disc and this one features the guitarist as well as the leader on deliberate firm and pronounced takes. Monder saves his best performance on the guitar for the colorful “Girls” where he peels off fiery riffs and feeds off Charette's own well-placed organ grinds. The trio seem to let it all hang out on the very boppish title track, even the audio measures higher on this terrific almost West Coast style chart. There's no downside to Brian Charette's latest release as he explores a more traditional jazz landscape on the very inviting and challenging “Upside,” an album one will find inviting and challenging with every piece, nice work Brian!

Year: 2010
Label SteepleChase Music

- Mike Blanco of EJazznews

Reliable accompanist flying under the radar on New York’s jazz scene, Charette is a B-3 burner with one previous recording as a leader (2008’s groove-oriented Missing Floor). On his sophomore outing, Charette settles into a jazzier mode, revealing a decided Larry Young influence. Drummer Jochen Ruckert propels the session with a lightly swinging touch while guitar marvel Ben Monder provides plenty of six-string thrills on numbers like the blazing “Public Transportation,” the mellow, harmonically sophisticated “Silicone Doll,” the evocative “Altered Waltz” and angular “Wish List.” They also turn in hauntingly beautiful renditions of Ellington’s “Prelude to a Kiss” and Carl Fischer’s “You’ve Changed,” along with a roller coaster ride through Strayhorn’s “Upper Manhattan Medical Group.” Andy Laverne’s earthy shuffle “Upside” also provides some sparks on this superbly swinging session. - Jazz Times