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Keyboardist (and occasional French horn player) Pete Levin has been plying his trade for the better part of 40 years.  His synthesizers helped move the Gil Evans Orchestra into the electronic/acoustic outfit that embraced Jimi Hendrix as well as King Oliver.  He's backed numerous pop and rock efforts, and most recently he's held one of the two keyboard chairs in his brother Tony's prog-rock band.

But no synthesizers appear on Certified Organic, which is dedicated exclusively to Levin's organ playing (as was 2007's excellent Deacon Blues).  While he can get lowdown and greasy, he can also play delicately and effectively support his bandmates.  Here Levin is joined by drummer Harvey Sorgen, percussionists Ernie Colon and Ken Lovelett, and a quartet of guitarists, including the late Joe Beck.  Beck's sensitive shadings help give depth to "Where Flamingos Fly" and "The Face in the Mirror."  John Cariddi handles the bulk of guitar duties, with his best outing on the opening Levin original "I'm Falling."  Mike DeMicco's turn comes on two other Levin tunes; the gently swinging "When I Was Young" and "Patience," which features great stick-work by Sorgen.  However, rocker Jesse Gress, also a mainstay of Tony Levin's band, gets in the best licks on the Jaco Pastorius classic "Teen Town," with sax provided by Erik Lawrence.

But Levin's playing remains the focus of the recording throughout, and he's more than up to the task.  Whether soulful or playful - sometimes both at once, as on "Teen Town" - Levin proves he's a master of the organ.  You never even miss his synth wizardry, and that's quite an accomplishment.

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ARTIST: Pete Levin
ALBUM: "Certified Organic"
Review by David Malachowski

Pete Levin's credentials and resume are a given, but in case you live in a cave: Miles, Gil Evans, John Scofield, Jimmy Giuffre, Annie Lennox, Paul Simon.  Need we say more?

Last year's organ centric "Deacon Blues" was a smashing success, so this follows with good reason.  Recorded in Woodstock by Levin and Roman Klun, this time Levin leaves boundaries behind and pushes expectations aside.

As can be expected, a star-studded cast accompanies him: Mike DeMicco, Joe Beck, Jesse Gress, John Cariddi, Erik Lawrence and Harvey Sorgen.

"I'm Falling" opens with a deep funky groove provided by the amazing Sorgen, who is really the secret weapon of this CD.

Levin's thick juicy tone is to die for, as are his undeniable chops. "Nana" has a clever melody line which is expanded upon and exploited in the solo sections. Cole Porter's "Love For Sale" gets a fine reading, as does Jaco Pastorius' "Teen Town," a complex workout that keeps you on the edge of your seat (as Gress and Lawrence fly).

But it's his own tunes that offer real insight: "The Face In the Mirror," "When I Was Young" (featuring a brilliant solo by DeMicco) and the aforementioned "I'm Falling" are weighty and confident compositions. Real musicians playing real music, what could be better?

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Pete Levin
Certified Organic (independent)

People who can play the Hammond B3 organ, while doubling on bass, are hard to come by.  People who can make music doing it are rarer still.  Pete Levin, A-list keyboardist (Paul Simon, Annie Lennox, Gil Evans, John Scofield just for starters), and local legend is one of the best at this, and here he gives us the second installment of his love affair with the Hammond in a trio setting.  With the indefatigable Harvey Sorgen (Hot Tuna) on drums, and Jesse Gress, Mike DeMicco, Joe Beck and John Cariddi circulating through the guitar chair - and other guests - Levin's trio cracks through a selection of jazz/R&B instrumental originals and version of Cole Porter, Jaco Pastorius and Prince tunes, all with a rich interplay and soulful soloing and textures.  Levin's B3 organ is like butter and, let's be honest, everything goes better with butter.  Organic butter, of course.

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Certified Organic
by Greg Haymes

Following the success of his 2007 CD "Deacon Blues," Woodstock keyboardist Pete Levin is back with his follow-up, "Certified Organic," a scorching slab of Hammond organ trio jazz. Levin has long been considered a synthesizer specialist, and his extensive resume includes stints with jazz greats (Gil Evans, Jimmy Giuffre), as well as pop icons (Paul Simon, Annie Lennox), but the new album features him exclusively playing Hammond organ, backed by an all-star batch of musicians including guitarists Joe Beck (Miles Davis), Mike DeMicco (Jack DeJohnette), John Cariddi (Patti Austen) and Jesse Gress (Todd Rundgren, Tony Levin), as well as dynamic drummer Harvey Sorgen (Hot Tuna, David Torn).

Levin simply smokes on this disc, and in addition to penning half of the tunes himself, Levin has the stylistic stretch to dig deep into the song bags of such diverse composers as Jaco Pastorius, Cole Porter and Prince. So hold onto your hats - Justin's in Albany is guaranteed to be the scene of some seriously steaming sounds on Friday, when Pete Levin and his band celebrate the release of their new disc.

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Blogcritics Magazine
Quickies: Pete Levin, CERTIFIED ORGANIC
Written by Pico
Published July 24, 2008

An aptly titled album, this organ trio-based effort is a hard-driving blend of jazz, funk and rock that isn't loaded down with unnecessary filler, just lean, vintage grooves. Coming on the heels of this keyboardist's first Hammond B-3-led release Deacon Blues, this one largely follows the same script.

Levin has mainly made his mark over the course of thirty-plus years scoring for TV commercials, drama series and feature films, as well as extended stints in the Gil Evans Orchestra and Jimmy Giuffre's band. He's also the brother of bassist extraordinaire Tony Levin, and both have played together in, among other projects, a Spike Jones tribute band.

Even within the fairly narrow realm of organ trio jazz, Levin mixes things up enough to hold your interest. "I'm Falling" is a James Brown-styled blues number, while "When I Was Young" gently swings. Selections like "The Question For U" comes closer to the rock side, making this sound akin to the power-organ trio Niacin than to Jimmy Smith. "Where Flamingos Fly" is plaintive adaptation of a classic Gil Evans piece.

Covers include a nicely remade version of "Love For Sale" and Moacir Santos' "Nana." Jaco Pastorious' "Teen Town" is tackled, too, in one of the few versions not centered around a bass player.

Using a revolving cast of guitarists, most notably Joe Beck, each brings the right style to suit the song. Erik Lawrence, the son of former colleague Arnie Lawrence, expands the trio to a quartet for a couple of tracks.

All told, this is a consistently good effort, providing solid grooves that are edgy enough to avoid the "smooth jazz" tag, but contemporary enough to pull in listeners outside of the straight jazz crowd.

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It seems just yesterday I reviewed "Deacon Blues" by Pete Levin. In that six months time, Levin has recorded part II in his "back to the roots" series of organ trios (and quartets, and quintets). And since then, my appreciation for jazz has increased exponentially thanks to the phenomenal CD collection at the Greenwich, CT public library. I immersed myself in Coltrane and Miles. Which leaves me a little better prepared to handle this little baby.

Pete Levin made his reputation as a synth specialist playing with pop and jazz artists such as Paul Simon, Annie Lenox, Gill Evans, and John Scofield. The list goes on for a very long time and even includes little ole me. I had the pleasure of jamming with Levin on Marshall Tucker's "Can't You See" at a local Westchester jam. In 2007, Levin got the urge to revisit his roots and first love, the Hammond organ. Personally, I think he just loves all the back pain and agida that comes with transporting a large keyboard. That year, he put out an album of organ trio treatments of more contemporary tunes like The Beach Boy's "Sail on Sailor" and Steely Dan's "Deacon Blues." With "Certified Organic," Levin and gang further expand the form. As a matter of fact, you might just call this record a guitar fest as it features four different guitarists: John Cariddi (Steve Marcus, Peggy Lee), Mike DeMicco (Dave Brubeck, Jack DeJohnette), guitarist Jesse Gress (Todd Rundgren, Tony Levin Band), and legendary Joe Beck (Miles Davis, Gil Evans, Sergio Mendez). Other players include former Hot Tuna drummer Harvey Sorgen, saxophonist Erik Lawrence (Hipmotism, Levon Helm), and percussionists Ernie Colon & Ken Lovelett.

When I think of organ trios, Jimmy Smith and Jack McDuff most often come to mind. However, you won't find a shuffle on this record. A lot of funk, some swing, but no shuffles. Reminds me more of Soulive and Weather Report. Leaving out lyrics makes a lot of room for soloing. And this instrumental album features a lot of blowing, picking, and stroking -- all of it good. More than anything else, tone separates the guitarists from each other -- ranging from downright plinky to hard rock edgy. Of course, I prefer the latter. Speaking of tone, Levin must have spent a lot time pulling the organ tabs for the perfect sound. Because he found it and spread it all over the album.

The CD features a mix of some surprising covers and Levin originals. Prince's "The Question of You" features a snippet of Hendrix's "Voodoo Child." Standouts include Cole Porter's "Love For Sale," "Nana," and an explosive rendition of Jaco Pastorius' Weather Report classic, "Teen Town." The sax on Levin's "When I Was Young" throws the group firmly into the Miles Davis "In a Silent Way" camp.

In this day and age of stultifying corporate radio, Levin will undoubtedly tap into the growing demand for non "lite" instrumental jazz. This music swings, cooks, grooves, paints, and even oozes. The packaging by Emily Saaen absolutely delights -- harkening back to vintage Blue Note album covers. But only in America, marketing paradise, could an electric band proudly wear the label "organic!"

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I fell in love with one song on this release by organist Pete Levin.  “Where Flamingos Fly” is a mood piece on which Levin states and restates its plaintive theme. It is truly gorgeous and when guitarist Joe Beck enters, it takes on an added luster.

Levin kicks off the first track with a funky “I’m Falling,” follows with a so-so “Nana,” gets funky again on the only standard, “Love for Sale.”  Saxophonist Erik Lawrence adds a needed boost on “Teen Town,” a tune with interesting rhythms and “Out of Darkness,” another dark and moody piece but not as pretty as “Where Flamingos Fly.”

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Pete Levin is sometimes overshadowed by his brother Tony, an in-demand player in the art-rock world (Peter Gabriel, King Crimson), who also built serious jazz cred in his youth with vibraphonist Gary Burton and pianist Warren Bernhardt. But keyboardist Pete Levin has built a fine discography of his own more closely linked to the jazz world. A lengthy stint with composer/arranger Gil Evans, and session work with guitarist John Scofield and trumpeter/composer Terence Blanchard helped spread his name, but it's his recent solo work that's most worth visiting. Drawing from the same organ jazz roots that defined Deacon Blues (Motema, 2007), on Certified Organic Levin recruits a larger cast of characters for an album high on groove but broad in reach, with elements of swing, soul-jazz, funk, fusion and more.

Mike DeMicco is back from Deacon on Levin's modal fusion workout, “Patience,” where the guitarist's grungy tone turns a potentially ethereal track more visceral, and “When I Was Young,” a lithely swinging tune that updates guitar icon Wes Montgomery's early '60s organ trios. Joe Beck, who sadly passed away in July 2008, also returns for a dark take of the Kennedy/Spolansky ballad, “Where Flamingos Fly” and Levin's “The Face in the Mirror,” its slightly countrified waltz time a reminder of just how versatile this sadly undervalued guitarist was, despite leaving a significant recorded legacy.

Levin's own multifaceted nature drives the record, starting from the get-go with his funkified “I'm Falling,” where guitarist John Carridi's chunky rhythm playing locks hand-in-glove with drummer Harvey Sorgen's in-the-pocket groove. Levin solos with the organ-equivalent of Scofield's uncanny ability to take things out just enough to create a palpable release when he brings it back in, while Carridi's overdriven solo is bop-inflected but blues-centric. Moacir Santos and Mani Telles' “Nana” is equally funk-driven, but percussionist Ernie Colon provides a link to its Latin roots, while Levin winds his way through a potent vamp and some more challenging changes.

While grabbing a larger chunk of compositional credit this time around, Levin also finds new approaches to popular tunes. “Love 4 Sale” takes Cole Porter's classic to unexpected places with a combination of some surprising re-harmonization, shifting feels and, after Levin's extended and dynamically building solo, a clean-toned turn from Cariddi that again blends bop with plenty of blues edge.

But it's Levin's arrangement of Jaco Pastorius' often-covered “Teen Town” that's Certified Organic's biggest surprise. Usually a bass workout, this time the knotty but singable theme isn't its primary focus; it's a steadily-building trade-off between Levin and saxophonist Erik Lawrence. With it, as with all of Certified Organic, Levin ups the ante and aims to increase his visibility as a leader. Demonstrating undeniably fine skills as composer, arranger and performer whose reach goes well beyond Certified Organic's groove-happy veneer, it's an album that easily places Levin in the same company as Larry Goldings, Gary Versace and Dan Wall.

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Trio music generally combines bass and drums with a piano, guitar or saxophone. Organist Pete Levin deviates from this formula on Certified Organic. The only constants are himself and drummer Harvey Sorgen. Apart from that, he employs one of four guitarists on each of the 10 tracks, one of two percussionists on several, and a saxophone on two. So, in essence, it's an organ-led trio plus one or two on all but three songs. The organ also plays the bass parts throughout.

Levin has an extensive resume, having performed or recorded with hundreds of jazz and pop artists. Among them are Paul Simon, Annie Lennox, Miles Davis, David Sanborn, Jaco Pastorius and Wayne Shorter. Levin acquired two Grammy Awards during the 1970s, when he electrified the Gil Evans Orchestra. He has also contributed to the scores of several TV commercials, dramatic series and feature films, including Missing in Action, Lean on Me, Silver Bullet, Spin City and The Color of Money.

"I'm Falling" is a funky groove that features John Cariddi on guitar. Levin leads this delightful piece for the most part, but Cariddi's rhythm and Sorgen's dexterity give it extra flavor. Cariddi also enjoys a solo. Percussionist Ernie Colon offers congas throughout.

"Love for Sale" is a bouncy spin on the Cole Porter classic. The pace changes during the transitional phrases, but the song remains upbeat throughout. Using the organ to cover the bass line in addition to the regular organ notes is excellent throughout the set, but it stands out a little more on this track.

The ensemble pays tribute to Pastorius with an interesting take on "Teen Town," which the acclaimed bassist wrote during his Weather Report years. Jesse Gress takes over on guitar and plays the lead along with the organ bass. Erik Lawrence adds the saxophone. The result is just close enough to the original to be appreciated by fans of the Weather Report version, but is a very different song in the hands of Levin and company.

Five of the 10 tracks on Certified Organic are Levin originals. While the lead musician is often the focal point of trio projects, Levin gives his sidemen plenty of opportunity for expression. It makes for a thoroughly enjoyable jaunt.

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As with his last record, keyboard whiz Levin concentrates on the organ and invites outstanding guitarists to join him.  Among those taking part here are John Cariddi, Mike DeMicco, Jesse Gress, and the late Joe Beck, one of the unsung heroes of jazz guitar of the past 30 years.

Beck's airy solo on "Where Flamingos Fly" highlights the bluesy ballad, and his quirky blues solo on "The Face In The Mirror" is the perfect complement to Levin's composition and playing.  And while all players here shine, DeMicco is a true highlight.  His rock vibe on "Patience" shows great tone and wonderful chops.  He betters himself on "When I Was Young," a fine jazz-blues that features chordal and octave work throughout, then a single-line solo that showcases his soul and chops.  Gress, known for his guitar instructional work, gets in slinky, funky playing in a couple of tunes - most notably Jaco Pastorius' "Teen Town," where his single-note and funk rhythms are the major propulsive force.  Cariddi acquits himself wonderfully also, especially on the Cole Porter chestnut, "Love For Sale," which swings heavily behind his fine comping and great solo.

Levin has played keyboards for many acts, typically on synthesizer.  But his organ playing is a pure delight, and his songs are always interesting.  -  JH

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The name "Levin" drew me to this album even before I knew what kind of music it was.  Since Pete's brother Tony has already solidified his reputation as one of the world's premier bassists and Chapman Stick players, I automatically assumed Pete would embody the same kind of talents.

I'm pleased to report that Pete Levin is a superb musician in his own right.  On his ninth studio album, Levin mans a mean Hammond organ and, with a bevy of other fine jazzbos in tow, crafts a work that, although full of originality, also successfully revitalizes some of music's most revered compositions.  Certified Organic is very intimate, as Levin finds his creativity in a Woodstock, NY studio alongside such guitar virtuosos as John Cariddi and Joe Beck, as well as superb percussionists like Harvey Sorgen.  Like Tony Levin, Pete makes his instrument come alive.  Wonderful melodies spew from his Hammond organ, recalling Steve Winwood back in the '60s.

Whether giving Cole Porter's "Love For Sale" and Jaco Pastorius' "Teen Town" new vigor, or unleashing his own brand of bluesy funk on tracks like "I'm Falling," "Out Of Darkness," and "When I Was Young," Levin revels in his instrument and clearly enjoys tinkering with sounds and styles.  Jazz may be at the root of his musical explorations but his talents are such that no genre seems foreign to him.  Like a chameleon, he blends in with whatever idea sifts through his brain and fingers.  Let's hope there are more Levins out there to keep this trend alive and kicking.

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Associated with Gil Evans' Orchestra back in the 70s, keyboardist Pete Levin has put out a series of clever and engaging solo releases that include intriguing variations of the Hammond Organ Trio theme. Like his last disc, Deacon Blues, Levin takes some overlooked tunes, combines them with his own compositions, and mixes and matches various personnel, like guitarists Joe Beck and John Cariddi, to create a disc with a steady groove, but with lots of intriguing rabbit trails to stroll along. Originals like "I'm Falling" have a rock steady feel, while Jaco Pastorious' "Teen Town" (which includes some great sax work by Erik Lawrence) is given an extra bit of seasoning and flexibility. Gil Evans' "Where Flamingos Fly" has some vibrant guitar work by Joe Beck, and percussionist Ernie Colon gives an extra kick to Moacir Santos' "Nana".  The entire disc has a pre-classic era Weather Report feel to it: long and deep relentless grooves with exotic organic flavorings.  Fun stuff.

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Pete Levin is best known to jazz fans as the synthesizer player in Gil Evans’ band for 15 years beginning in the early ’70s. (He initially played French horn in the group.) He also played keyboards for eight years in the Jimmy Giuffre 4. In addition, his career includes live and studio performances with Miles Davis, David Sanborn, Paul Simon, Jaco Pastorius and many others. In 2007 he revisited his roots in the Hammond organ with Deacon Blues, a trip he continues with this year’s Certified Organic, except here he uses Nord Clavia keyboards.

Levin and drummer Harvey Sorgen are the constants on each track, with a shifting cast of guitarists (John Cariddi on four cuts and Mike DeMicco, Jesse Gress and the late Joe Beck on two each). Saxophonist Erik Lawrence appears on two tracks (Pastorius’ “Teen Town” and Levin’s “Out of Darkness”), percussionist Ernie Colon on four and percussionist Ken Lovelett on one.

One way to describe Levin’s style is to say what it isn’t—namely Jimmy Smith, Joey DeFrancesco or Dr. Lonnie Smith. It’s darker, with fewer over-the-top climaxes. And it’s still full of good linear development and hip grooves. The blend of guitar and organ offers colors that differ from other organ trios. “Where Flamingos Fly” is a case in point, on which Beck and Levin capture the swampy essence of Gil Evans’ version on his Out of the Cool album. All the guitarists are appealing throughout the album, with fine command of jazz-rock and obvious respect for Levin. Lawrence, son of the late alto man and teacher Arnie Lawrence, plays alto on “Teen Town” and soprano on “Out of Darkness,” adding an element of raw soul to the performances.

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An aptly titled album, this organ trio-based effort is a hard-driving blend of jazz, funk and rock that isn't loaded down with unnecessary filler, just lean, vintage grooves. Coming on the heels of this keyboardist's first Hammond B-3-led release Deacon Blues, this one largely follow the same script.

Levin has mainly made his mark over the course of thirty-plus years scoring for TV commercials, drama series and feature films, as well as extended stints in the Gil Evans Orchestra and Jimmy Giuffre's band. He's also the brother of bassist extraordinaire Tony Levin, and both have played together in, among other projects, a Spike Jones tribute band.

Even within the fairly narrow realm of organ trio jazz, Levin mixes things up enough to hold your interest. "I'm Falling" is a James Brown-styled blues number, while "When I Was Young" gently swings. Selections like "The Question Of U" comes closer to the rock side, making this sound akin to the power-organ trio Niacin than to Jimmy Smith. "Where Flamingos Fly" is plaintive adaptation of a classic Gil Evans piece.

Covers include a nicely remade version of "Love For Sale" and Moacir Santos' "Nana." Jaco Pastorious' "Teen Town" is tackled, too, in one of the few versions not centered around a bass player.

Using a revolving cast of guitarists, most notably Joe Beck, each brings the right style to suit the song. Erik Lawrence, the son of former colleague Arnie Lawrence, expands the trio to a quartet for a couple of tracks.

All told, this is a consistently good effort, providing solid grooves that are edgy enough to avoid the "smooth jazz" tag but contemporary enough to pull in listeners outside of the straight jazz crowd.

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Tre musicisti dai curricula impressionanti, esperienze in ogni direzione musicale, la registrazione di dischi importanti sia per la loro qualità che per le vendite. Pete Levin, John Cariddi e Harvey Sorgen sono presenti in molti momenti della storia musicale del ventesimo secolo: hanno suonato con Paul Simon e Anthony Braxton, Rickie Lee Jones e Annie Lennox, Gil Evans, Bill Frisell, Carlos Santana e Jimmy Giuffre.

Sono tre signori di grande esperienza che si dedicano con tutto il cuore a un trio costruito sulla base sonora del canone dell'organ jazz trio: chitarra, hammond e batteria, il basso affidato alla grancassa e alla mano sinistra dell'organista. La cifra stilistica del Pete Levin Trio unisce, in una sorta di territorio intermedio, brani jazz, canzoni celebri, una versione torrida di Teen Town, alcuni originals: il suono non sfocia mai nel boogaloo più ammiccante e mantiene il sapore del jazz, senza fare accademia o revival; accoglie elementi funky e momenti lirici e, soprattutto, si avvale in ogni direzione dell'impatto del groove sostenuto e sempre elettrizzante del trio.

La scaletta del concerto viene concepita come atto di amore nei confronti di brani, che come Pete Levin stesso dice nell'intervista e ripete durante il concerto, "non ho composto ma avrei voluto comporre". Si va dalla già citata Teen Town a Deacon Blues e Round Midnight, da Come Together a Love for Sale e Mercy, Mercy, Mercy: il tutto viene unito dal groove e dalla solida coesione dei tre musicisti sul palco. La dimensione ritmica e armonica è fortissima e crea un sostegno determinato e preciso alle improvvisazioni dei tre.

La stessa attitudine che guida le scelte sonore e di repertorio porta Levin, Cariddi e Sorgen ha disegnare degli assolo altrettanto naturali, senza cercare virtuosismi né facili effetti: in brani come Icarus, Round Midnight e Where Flamingoes Fly prevale l'elemento lirico e le improvvisazioni vengono condotte con classe e con una visione narrativa, lasciando spazio alle soluzioni più delicate; a fare da contraltare gli scambi tra Cariddi e Levin, sempre più ravvicinati e incalzanti nel finale trascinante di Teen Town o la botta secca, viscerale e stordente, del passaggio, senza soluzione di continuità, tra l'introduttiva Sad Truth e Nana. Tra i due estremi, le versioni delicatamente groovy di Love for Sale e Summertime, un compromesso positivo tra il suono del trio e la natura consolidata dei brani, una maniera di rendere proprio il materiale della tradizione senza destrutturarlo e, soprattutto, agendo con gusto e buon senso; ma anche i brani originali e le escursioni nel mondo della canzone, con Come Together e Deacon Blues degli Steely Dan, dove il gruppo disegna in modo definito la propria voce e l'unione sempre serrata tra la guida sicura delle improvvisazioni e il costante apporto corale al sostegno e alla costruzione dell'accompagnamento.
Pete Levin riesce a mescolare in modo equilibrato le varie spinte - intellettuali, emotive, ritmiche - senza eccedere in nessuna delle direzioni e portarle, perciò, a una dimensione deteriore, senza invaghirsi di quanto accade sul palco e mantenendo, anzi, sempre alta l'attenzione alla gestione generale del concerto: gli stimoli e le intenzioni del gruppo trovano sempre spazio con spontaneità, comprese la verve comunicativa, la simpatia e la voglia con cui i tre affrontano i brani. Un ottimo lavoro.

These three musicians have learned from their impressive experiences in every musical direction, that making recordings is an important part of their careers.  Pete Levin, John Cariddi and Harvey Sorgen have been present for many moments of musical history during the twentieth century, having performed with Paul Simon, Anthony Braxton, Rickie Lee Jones and Annie Lennox, Gil Evans, Bill Frisell, Carlos Santana and Jimmy Giuffre.

Three men with a wealth of experience who are dedicated with all their hearts to a trio built on the sound of a traditional jazz trio: guitar, Hammond organ and drums - bass being entrusted to the organist's left hand. The signature style of the Pete Levin Trio combines, in a sort of middle ground, Jazz compositions, famous Pop songs, a hot version of Teen Town and some originals: the sound is not always Boogaloo, but keeps the Jazz flavor without being traditional or "retro"; there are funky elements and lyrical moments no matter what direction the groove takes, and always taking full advantage of the electric trio.

The basis of the program was conceived through a love for songs; Pete Levin quipped repeatedly during the concert "I didn't compose this one but I wish I had."  They range from the aforementioned Teen Town to Deacon Blues and 'Round Midnight - from Come Together to Love for Sale and Mercy, Mercy.  The set was further united by the groove and the strong cohesion of the three musicians on stage. Their sonic  dimension and harmonic rhythm is very strong, creating solid support to their improvisations.

The same attitude that drives the choices of sound and repertoire has Levin and Sorgen supporting Cariddi's virtuoso soloing.  Arrangements of songs like Icarus, 'Round Midnight and Where Flamingoes Fly are dominated by lyrical, narrative improvisations that leave space for the most delicate, in contrast to the blistering trade between Cariddi and Levin in the closing and enthralling finale of Teen Town. The transition without a break between the introductory Sad Truth and Nana was stunning and visceral.

Two original arrangements - a gently grooving Love for Sale and Summertime - demonstrate the good compromise in the sound of this trio of performing in their own, contemporary style while still acknowledging tradition and, above all, doing it with taste and common sense.  The trio's excursions into the world of song - like The Beatles' "Come Together" and Steely Dan's "Deacon Blues" - shows the musicians defining their musical voices while working as a unit to accompany and support their improvisations.

Pete Levin manages to mix different musical thrusts in a balanced way - intellectual, emotional, rhythmic - without excess in any of them.  With his attention to the flow of the program, the energy and dimension never deteriorates, always maintaining the highest standard. The combined energy and direction of the trio always leaves room for spontaneity and communicating an infectious enthusiasm.  An excellent job.

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Jazz Society of Oregon
Certified Organic, Pete Levin, Hammond B-3
Review by Don Campbell
August, 2008

Hammond B3 monster Pete Levin – a session dude for the likes of Paul Simon, Annie Lennox, Lenny White, John Scofield and Gil Evans, serves up a funky 10-song CD, “Certified Organic” (wink, wink) that’s powered by Levin originals, one by Jaco (“Teen Town”), one by Prince (“The Question of U”), and the Cole Porter chestnut, “Love for Sale.” On that cut his organ tone is at its impeccably strongest yet supplest. He’s aided by guitarist John Carrididi, the supremely and fluidly funky Harvey Sorgen on drums (who’s drum sound is impeccably warm and room-like on every cut), and Ernie Colon on percussion.
Levin spreads the guitar love around, using in addition to Cariddi, Mike DeMicco, Joe Beck and Jesse Gress throughout. He slows the funk down on his own “Patience,” a scorching piece that offers ample room for his own keyboard insight and DeMicco’s guitar. He shares the inventive Jaco melody in the verse of “Teen Town” with Gress, with an inspired Erik Lawrence sax solo over the top. It’s delicious romp for all. Beck gets his turn on “Where Flamingos Fly,” a brooding minor-key ballad, and turns in a swirling and complex guitar accompaniment that plays nicely off Levin’s keys.
The whole project shines as basically an organ trio, with simple augmentation from the guitar team and occasional Lawrence sax line. All in all, if you love organ, this one should find its way into your collection.

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