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Super Heavy Organ

Robert Walter

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Album Review

Robert Walter calls his instrumental heavy organ music "soul-jazz," but that ignores the strong funk element ever-present on all of his albums. This one is no exception, as the opening track, "Adelita," charges out with Walter's Jimmy Smith/Jack McDuff-styled keyboards, driving saxophonist Tim Green into a roaring solo. For this recording, made live in a New Orleans studio with crisp sound, Walter chose top musicians to help the vibe, such as drummers Johnny Vidacovich and Galactic's Stanton Moore, along with bassist James Singleton. The music is baked in the New Orleans groove, with doses of the Meters, Galactic, and Dr. John mixed in. Walter pushes the sonic envelope by shifting into slightly experimental waters during parts of "(Smells Like) Dad's Drunk Again," but he never strays too far afield. The Medeski, Martin & Wood similarities remain present, but Green's sax helps distinguish the sound, which is less acid-styled and generally funkier than MM&W. The songs shift from shorter, tightly wound three- and four-minute nuggets to extended, jam-heavy pieces. The rhythms and tempos change enough so that the album never stagnates, although it does wind down in its final quarter, with the closing nine-minute "Cabrillo" making the disc probably one track too long. Vidacovich's always inventive percussion is never less than sensational, and even when Walter's keyboards become a bit repetitious, the drumming is propulsive enough to pull the listener through the few rough spots. There are many highlights, but "Criminals Have a Name for It," which rides on a bed of stark, offbeat handclaps, is an ear-catching example of this combo at its most inventive. Walter's B-3 playing is indeed heavy, but never heavy-handed, a distinction that makes this one of his most successful releases.

Customer Reviews

I JUST LOVE THE FUNK!

I just love finding new funk that is so universally solid that I can just buy the whole album and download it rather than picking through song-by-song. This is one of those albums. I'm very impressed with the versatility of the organ in this outstanding collection of songs. From a lead role with sort of a trippy, acid-jazz sound in one song to providing a FILTHY FUNKY BASS LINE in others, Mr. Walter truly plays a Super Heavy Organ.

Super Heavy

Definitely one of the best keyboardists you'll ever hear. Soul - Speed - Funk. Robert has it all.

Greatest Post-modern Jazz Organ Album to Date

Robert Walter is probably the best post-modern jazz organist to date since Jimmy Smith. This is album is a true testament to the aforementioned statement, and I highly recommend the album to any jazz organ enthusiast.

Biography

Genre: Jazz

Years Active: '90s, '00s

Instrumental jazz-funk is the name of Robert Walter's game. The top-notch organ/piano player was a founding member of the Greyboy Allstars, with whom he played for five years and toured extensively throughout North America and Europe. He has also played and recorded with jazz and funk icons Fred Wesley, Melvin Sparks, Andy Bey, and Reuben Wilson, and he contributed to the soundtrack of the 1998 film Zero Effect. In 1996, Walter released a solo album featuring sax great Gary Bartz called Spirit of...
Full Bio
Super Heavy Organ, Robert Walter
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