isn’t the first album to feature an organist extensively; for example, he worked with the Los Angeles-based organist on his 2005 release . But the guitarist has worked with acoustic pianists more often than organists (at least as of 2009), and is unusual in that it finds not using a pianist at all. On this early 2009 session, forms an intimate trio with on organ and Jeff Hamilton or on drums. In the ’90s and 2000s, was one of the leading proponents of a post- aesthetic on the Hammond B-3. has been greatly influenced by the late , who started out as a disciple but evolved into an innovative, distinctive post-bop/modal player and went down in history as “The of the Organ.” Of course, is not a clone of ; he is most certainly his own person, but he shares ‘s love of post-bop. So it isn’t surprising that does a lot to shape the post-bop perspective that dominates . His presence is a major plus on material that was composed by and/or , and it is a major plus on memorable arrangements of ‘ “Hawkeyes” and two of ‘s lesser-known pieces (“Zweet Zursday” and “Carnegie Blues”). The fact that neither of those tunes is a standard speaks well of , who is smart enough to realize that one of the joys of the vast songbook is hearing all of the worthwhile compositions that didn’t become standards. is a consistently engaging addition to ‘s catalog.