Chance Hayden

Baritone Gold

Peace House Music

Here’s an organ trio album from a relatively unexpected source. Portland, OR-based guitarist, composer, and producer Chance Hayden returns with the self-produced Baritone Gold, his third album and debut on the new label, Peace House Music following his two-album run on Ropeadope. While his 2020 Grab & Go featured percolating jazz-funk, he digs even deeper into a retro vibe here with ‘60s inspired originals that evoke the sounds of The Wrecking Crew and early Bar-Kays, especially the soul-blues tune, “Bank On Me,” featuring vocalist Sean Holmes, issued as a single and YouTube video. The concept for the album was to explore what these great ‘60s backing soul and R&B bands might sound like free of restrictions, backing the stars. Yes, we heard some of that with Booker T & the MGs but for the most part even that band was primarily a backing unit. Hayden, who loosely bears the label of jazz guitarist, is most eclectic in this setting riffing surf, soul jazz, blues, and classic film scores in what is essentially a classic organ trio, formed around his baritone guitar, tuned down about halfway between a standard guitar and bass guitar. While that may suggest low end sonics, of which there is plenty, his instrument has a five-octave range, capable of melodies and solos that one might take for a regular guitar. It meshes nicely with the Hammond B3, creating a richer, in-depth sound that sets it apart from most organ trio fare.

Hayden’s trio mates are organist Clay Giberson and drummer Jason Palmer. In addition to Holmes, vocalist Dante Zapata takes the lead on the swinging “Don’t You Wanna Give Me a Call.” Owen Broder on alto and John Nastos on tenor imbue three tracks. Jans Inger on congas and percussion is aboard for three, Rusty Blake on steel guitar for two, and background vocalists Alonzo Chadwick, CJ Mickens, and Onry support Holmes on “Bank on Me.”

The album has relentless energy, kicking off with the surf guitar lines of “Clean Break” which sets the stage for the riveting interplay of Hayden and Giberson, fueled by Palmer’ insistent beats that’s heard throughout. Standout “Carolina Summers” is a hot piece of funk that morphs into breezy sections, only to return to the thumping vamp that initiates the tune. Improvised solos from Hayden and the organist attest to their jazz sensibilities. The mellow “One Last Rose” is spot at the intersection of jazz and blues, as if we’re listening to a Jimmy Smith Blue Note recording. “Desert Drag” has that similar surf guitar attack of “Clean Break” with soaring solos from Giberson and command of both low and high ends in Hayden’s excursion. “Doing the Splits” has this cool little cha-cha riff in an updated dance number that evokes a bit more of contemporary sheen a la The New Mastersounds as does the funk infused “Takin It Over.”

The rhythmic “Open Back Cab’ features Ingber’s infectious percussion and the only appearance from the two saxophonists (in a filthy funk mode) on a purely instrumental tune. Hayden’s rapid high register runs paired with Giberson’s pulsating B3 make this a real cooker. Blake’s steel guitar adds a refreshing color to the sonics on the languorous “No Sign” and the gorgeously bluesy closing “Sand Stars” with the interplay between Hayden and Blake evoking that of Bill Frisell and Greg Leisz on Guitars in the Space Age, an album with a similar theme sans organ. “Rhythm Queen” is a rave-up, one of the most retro sounding tracks in the dozen.

Organ trios get plenty of ink here. Hayden’s Baritone Gold sets apart from others due to its relentless energy, groove that and eclectically distinct retro vibe.

• Jim Hynes

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