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From the liner notes, written by the artist:

I've known Cory Weeds for many years and have always admired him as an artist and label owner. Last year, I had the idea for a new recording that would be more traditional than my other albums which often placed the organ in a more unconventional role with electronics and wind ensembles. I wanted to write some pretty, swinging, bebop tunes with a classic approach that would give a nod to all my biggest influences; Jack McDuff, Melvin Rhyne, Don Patterson, Larry Young, and Jimmy Smith. Cellar Music's esthetic seemed like a perfect fit for the concept, as did Cory's musicianship which is evidenced in the tracks here. Ed Cherry on guitar was an obvious choice. He's lyrical, funky, and a brilliant accompanist. We've also worked together for many years and know each other's style very well. Cory had worked with Bill Stewart before and suggested him as drummer for the group. I was naturally very excited to play with one of my heros. Bill's hard swinging and masterful control were perfect for the date. With Jackpot, we've tried to deliver a super swinging session with memorable tunes and super soulful blowing. I hope you enjoy.

Brian Charette

Track Listing

Sales Points

• The 20th release as a leader from one of the most versatile Hammond B3 players in jazz.
• This all original set of bebop and swinging compositions is directly influenced from the legends of the instrument, including Jack McDuff, Larry Young, Jimmy Smith and more.
• Features label head and Producer Cory Weeds on saxophone and a NYC powerhouse rhythm section of Bill Stewart on drums and Ed Cherry on guitar

Press Quotes

Brian Charette continues to punch holes in the sky of jazz tradition. A freakishly swinging organ sextet. g sect

     —KEN MICALLEF, JazzTimes

He can groove with the best.... It's masculine without being masculinist and macho, and even in this day and age, that's a pretty good thing.

     —BRIAN MORTON , Downbeat Magazine

The Hammond B-3 organist Brian Charette weighs the ageless objective of soul-jazz with a trace of restless modernity

     —NATE CHINEN , New York Times