The Magician - Joe Doria produces innovative B3 music

Northwest native Joe Doria is a name all the great musicians know, respect and are dying to play with. This is a guy who can work magic on the Hammond organ. He can handle bass lines while forming a song’s chordal structure and creating original approaches to all kinds of music.

Lately Doria’s been everywhere, in the news with his band, McTuff, for the Earshot Jazz Festival, the upcoming Ballard Jazz Walk, jamming in practically every other gig from TOST and the Seamonster, to a free November 29^th Triple Door concert.

Alone, or with his two other main groups, the Joe Doria Trio and McTuff, Joe Doria has more than made an impact on the Seattle jazz scene and with Seattle-area jazz musicians, many of whom consider him one of the best B3 players in the country. I picked his brain a little and got more than I bargained for; I was able to glimpse the life and times, and ever-evolving state of a true musician’s musician.

My husband calls you “the best B3 player in the country,” so you must be doing something right. What makes you stand out in a crowd?

Well, first...wow. I don't know if that's true, but I sure am flattered in hearing that. I really don't know what makes me personally stand out – I think that's for the listener to decide, but I hope it would be the musicianship, the players I'm lucky to be playing with here...and just a good feeling and groove provided by the music, whether it be our originals or covering a classic.
 
Of all the instruments to choose from, you went with a Hammond organ. That’s kind of different. Most people go with drums, piano or horns. What’s so special to you about playing the organ?

Well, I loved the Hammond sound even before I knew what it actually was, trying to get that sound from my old keys (which I still own)...but the sound was never quite there of course. Then my friend, Craig Hackle and I went to see John Lee and I put $ down on my first Hammond C3 and 122.

After hauling it up 50+ steps (thank you Craig...I'll owe you forever) we got it in and I was in love ever since. It's like "home" to me. Next came the realization...I gotta learn it!

But essentially, the Hammond is like having a whole band under your fingers and feet, even getting a little drum/beat in there via thuds and taps. It's a one-of-a kind instrument that still makes me forget about all the fancy keyboards and the many sounds/FX they have. They're cool too, but "home base" is the organ to me.

How is playing the organ different from playing, say, a guitar, or a piano?
 
I can't even make tone happen on guitar or horn (it's painfully sad), so I can't answer that one, but I played piano and after getting my first Hammond, it was a wake-up call and kick in the groin.

After realizing...besides the keys/notes...this is not going to be as simple as playing what I knew on piano. The keys of the organ are lighter, sized and shaped differently, ...all of which affects piano technique and play. So it was a decision in deciding to really dig in and learn Hammond and how to approach music on it.

McTuff Trio and Quartet is a concoction of the soul and feel I've learned from the organ greats...mixed with a bit of chaos and peace...forming (what I hope to be) interesting and honest, original music. It's both the ugliness and beauty we see inside the world of music.

A lot of good came from it. I learned about how important the bass is in music, I learned about time and feel with the organ and its differences, opportunities with the band and music possibilities, and best of all, I learned the genius of Jack McDuff, Jimmy Smith, Groove Holmes (list goes on) and then (hopefully) create my own voice from all of that.

What special things must you keep in mind when playing the organ to get the kinds of sounds you want? Are you limited in any way because it’s an organ, or are you freed up because an organ can emit more variety of sounds?
 
I think you're freed up to a degree, and sound-wise it's still that "Hammond" sound, which allows you to create all these tones – from the softest perc pops to the full-on, all-stops-out, booming sound. But you're also limited as well, and that's not a bad thing btw. I mean, because it's not a multi-sound keyboard, it forces you to be creative and come up with applicable tones for the music you're playing.

What I try and keep in mind is never sacrificing time and groove for a run/line...and use the organ to bring out and back the incredible players I'm playing with. I stumble if I don't keep up on it...so off I go back to the metronome and just play time, if only because it's so important to me.

The organ is also an excellent padding instrument and you can use its power and sound to really support a player/soloist/singer. The goal is to use this instrument’s power to enhance the musicians you're playing with – not overpower.

What is the best and the worst kinds of gigs you’ve played?
 
I've had quite a bit of worst and best gigs. As for "bad," it depends on how you look at a "bad gig." It could be a lot of rehearsed music for no $ playing to nobody, or nobody who cares. It could be a decent-paying gig playing to people who could care less. It could be a gig where some members don't appreciate and understand how wonderful it is just to have live musicians working together to try and create "it" (sad).

We all still see and play these gigs...it's just another slice of music life to me.

The best gigs come down to any show where the band is all smiles, pushing each other, listening to each other...basically, everything gels after that. You can't help but feel good. The audience feels it..and it makes for a fun night. Getting paid appropriately also helps – no lie there.

And all of this could be a rehearsal at your home, or a tiny club like The Seamonster, Tost, or the Owl N' Thistle and GoodFoot in Portland, OR (so many to list)...to the somewhat larger venues we have like The Tractor, Triple Door, or Jazz Alley...maybe even a friend’s wedding or party...all the way to some of the incredible festivals we've played like Bear Creek and High Sierra.

It doesn't matter the size of the place, what matters is the music and people you're making it with. If you work and communicate up there, the listeners (those who "want" to enjoy, that is) will most likely enjoy what they're hearing and have a great time.

You and your band, McTuff, have been getting around a lot lately in the NW, what with the Earshot Jazz Festival, Triple Door, Tula’s, and the Ballard Jazz Walk. Any plans to branch out and gig outside the NW, do a national tour maybe, go overseas?
 
Trying...and yes that is a goal so we're trying. The realities with my instrument (size/weight/availability) doesn't help of course, the costs these days vs. the reality of $ to make it feasible is tough to wrangle...but there are ways.

And, although it's not why I play with the man, but it's no lie that when we're doing quartet with our sax player, the world-reknowned "Skerik," it has helped get us visible in some wonderful situations. Then you add incredible talents like Andy Coe and the absolutely smokin' D'vonne Lewis and damn...it makes it all come together a little easier. We're working on getting out to the East Coast for our next outing (hopefully this spring – fingers crossed). But oh what a dream it would be to get overseas with these guys. If anyone out there reading this has a contact in regard to this, please call me ;).

What do you think the secret is to you and your band’s success?
 
I think we've really just begun, but the answer most definitely is "the players and their vibe + the great friends and fans." Period.

The first time I played with D'Vonne at a little club, we looked at each other and thought, “Yep, this is right.” Skerik pushes me, the limits, and all of us. He also makes me laugh way too much. Andy oozes coolness with kindness, but will support like the best when needed, and blow the doors off when let loose.

With all the groups I play in – there's no doubt, I know I'm one lucky SOB.