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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, James Poore, Glyn Pursglove, George Stacy, Bert Thompson, Sam Webster, Jonathan Woolf

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Organ Monk: American Standard




1. Liza

2. Lulu's Back in Town

3. Nice Work If You Can Get It

4. Dinah

5. I Should Care

6. Tea for Two

7. Everything Happens to Me

8. Just a Gigolo

9. Don't Blame Me

10. Between the Devil and the Deep Blue Sea


Greg Lewis – Hammond B3 Organ

Ron Jackson – Guitar

Riley Mullins – Trumpet

Reggie Woods – Tenor sax

Jeremy Bean Clemons – Drums, cymbals


Greg Lewis formed his Organ Monk group to show how the music of Thelonious Monk could be adapted for a Hammond organ combo. We have reviewed his second album on this website ( ) and our reviewer was satisfied with the results. Lewis seemed to suggest that the second album was part of a trilogy devoted to Monk, but this third album switches course to tackle some jazz standards, with nary a composition by Thelonious Monk.

However, the tunes are all standards that Monk played at various times, and a Monkish mood is certainly imparted to Liza, where the rhythm and harmonies are dislocated in Thelonious’ style. Drummer Jeremy Clemons adds plenty of excitement, although his disjointed beats often disrupt the rhythm instead of emphasising it. Reggie Woods supplies a swirling sax solo, and trumpeter Riley Mullins hits plenty of high notes, although his solo lacks cohesion. Greg Lewis’s solo doesn’t quite convince that the Hammond organ can produce a Monkish style.

Nice Work If You Can Get It works better, mixing out-of-tempo passages with straight 4/4. The trumpet solo again seems intent on ear-splitting, while the saxist is more listener-friendly. The trumpeter is less frenetic in I Should Care, although some notes still miss their targets.

Ron Jackson’s guitar comes to the fore in Tea for Two and Just a Gigolo. The former starts as if the organist is trying to destroy the melody. Subtlety is not Greg Lewis’s strong point, and I don’t particularly like the rather grating sound he gets out of the Hammond B3. Where Monk often played economically, Lewis too often generates a swathe of sound. But the guitar solos in both these numbers are more conventional, with attractive echoes of Wes Montgomery in Just a Gigolo.

Between the Devil and the Deep Blue Sea sums up this group’s strengths and weaknesses. The free-form introduction leading into some devilish discords shows how they have taken Thelonious Monk’s adventurous approach and adapted it for new uses. But the solos tend to lose the shape and sense of the original melody, so one wonders what point there is in improvising on jazz standards if so little of them survives. It seems that Thelonious had more respect for these tunes.

Tony Augarde

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