The organ is the concierge of jazz: it lurks at every door, catches people doing whatever they're doing, crows partly melancholically, partly hysterically into the action, and if it weren't somehow useful from time to time, many would gladly do without it. But it is there, time and again, this time on The Getdown, the first album by The Getdown, consisting of Laurent Coulondre, Arnaud Dolmen and Grégory Privat.
Now, of course, it is not nice to diss an instrument solely because of its sound character, especially since such behaviour sometimes says more about the person expressing it than about what is being talked about. And it would also be unfair to Laurent Coulondre, who, with and on The Getdown, diligently ensures the tasteful and harmonious use of his Hammond organ, without overwhelming the musical proceedings.
Coulondre sensitively integrates his playing into the musical fabric of the trio – in addition to the organist, there is another keyboardist, Grégory Privat on piano, and of course Arnaud Dolmen on drums, all three of whom were finalists in the 2023 Prix Django Reinhardt.
And bass? And guitar?
They're not there today. But that doesn't matter.
Despite the multitude of keys, there is no musical black and white to be heard. The eleven compositions are diverse in character, tempo, gesture and spirit. The foundation is tried and tested: jazz with a dash of Caribbean, a touch of reggae and a little bit of let's see what happens.
What does it sound like?
Amber's Ballad gently grooves its way into your ears as an introduction, Endless Groove jumps cheerfully through your ear canals a little later, and Pay Koko also radiates good vibes. That's Life strikes a more contemplative note. And Promenade invites you to dance the waltz – with a bit of swing, but who cares when you're in the flow?
The recordings on The Getdown (the album) present The Getdown (the band) and their music with a lot of body. The instruments are unconditionally authentic and beautifully crafted on a compact club stage – the trio's usual habitat. The natural sound of the piano and drums contrasts perfectly with the electric tones of the Rhodes and Hammond, and their blend results in a delicious acoustic delicacy.
Thus, The Getdown proves not to be a meltdown of music, but actually what the term describes in the New York scene: music for dancing or simply having a good time.
Merci beaucoup! (Thomas Semmler, HighResMac)
Laurent Coulondre, Hammond organ
Arnaud Dolmen, drums
Harold Lopez Nussa, piano, Fender Rhodes
Rolando Luna, piano, Fender Rhodes
Photo: ©Youri Lenquette