Matthew Kaminski • L.A. Connection

 

MATTHEW KAMINSKI is a rare breed. He’s a musician who performs for a crowd of 40,000 people at least 81 times a year. That’s because Kaminski is the Atlanta Braves (Major League Baseball) organist and plays all their home games.

Matthew is a versatile musician who’s proficient on the piano and accordion as well as the Hammond B3 organ. He’s been playing for the Braves since the 2009 season. A popular figure in the baseball world, he’s known for entertaining the crowds with funny musical asides when a player from the opposing team is announced. NBC Sports online once wrote that “The Braves Organist is the Coolest Guy in the World.” In addition to playing for the Braves, he also plays for several college baseball teams, and the Atlanta Gladiators (ECHL hockey team). Matthew has been featured in The Atlanta Journal Constitution, Fox 5's Good Morning Atlanta and Good Day Extra, NPR's Weekend Edition, the BBC, and has received positive "on air" reviews from Braves announcers Don Sutton (Hall of Fame pitcher), Chip Carey, Joe Simpson, and Jim Powell.

Kaminski learned to love music from his father, a Polish immigrant who played the accordion and sang polka tunes around the house. He began studying the organ at the age of five, and continued studying through college, earning a Master of Music degree from Georgia State University. While attending both The University of Arizona and Georgia State University, Matthew was fortunate enough to perform with Jimmy Heath, Jon Faddis, Joe Lovano, Conrad Herwig, Scott Wendholdt, Dave Samuels, Dave Freidman, and other master jazz musicians. Moreover, Kaminski has taken private lessons in jazz organ with Ike Stubblefield, Tony Monaco, Scott Giddens, and Larry Goldings.

Outside of his seasonal day job, Kaminski is a very busy performing and recording artist. He’s released three studio CDs on Tony Monaco’s Chicken Coup (Summit) Records: Taking My Time in 2010, Swingin' on the New Hammond in 2014, and Live at Churchill Grounds in 2016, as well as a self-released digital album in 2013 of music from the ballpark called Stadium Organ Sounds. His most recent self produced recording, Baseball Organ in Hi-Fi, features full solo organ versions of the fan favorite songs often played at Atlanta Braves games. In addition to these solo efforts, Matthew writes music for, plays, and sings in a rock and roll band called Fairfax and 3rd, that's influenced by the Beach Boys, Beatles, ELO, NRBQ, and other harmony based bands. Fairfax and 3rd just released it's first CD single in 2019, Back to Vinyl / Wanna Make You Happy.

Matthew keeps himself busy in a variety of different musical situations. He’s a member of a Latin Salsa orchestra called Orquesta MaCuba, plays accordion for a western swing band called Back in the Saddle, and leads a polka band called The Georgia Polka Connection by singing, playing the accordion and the organ. Throughout his performing career, Kaminski has shared the stage with notable jazz musicians: Dave Stryker, Don Braden, Kimberly Gordon, Henry Johnson, George Fludas, Greg Rockingham, Kyle Asche, Howard Paul, Bruce Forman, Jeff Hamilton, Leon Joyce Jr., Grant Green Jr., Gwen Hughes, Russell Gunn, Ethan Phillion, Jason Miller, Alphonso Ponticelli, Annie Sellick, and Pat Bergeson. Matthew also had the pleasure of performing with many notable musicians in other genres including: The Drifters, Puddles Pity Party, m.o.e., John Driskell Hopkins (Zac Brown Band), The Yacht Rock Revue, Tim Smith, Ruby Velle, Blair Crimmins, John McCutcheon, Chuck Brodsky, Alex Meixner, and Oliver Wood (The Wood Brothers).

Kaminski is proud to have been chosen as a Hammond Organ/Leslie Speaker Artist. He performs regularly on the Hammond SK1, SK2 (which is the organ Matthew plays at Truist Park, the home of the Atlanta Braves), XK3, and Leslie 21 System speakers.
https://hamiltonjazz.com/discography/matthew-kaminski-l-a-connection/

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MATTHEW KAMINSKI es una raza rara. Es un músico que actúa ante una multitud de 40.000 personas al menos 81 veces al año. Eso es porque Kaminski es el organista de los Atlanta Braves (Major League Baseball) y toca en todos sus partidos en casa.

Matthew es un músico versátil que domina el piano y el acordeón, así como el órgano Hammond B3. Ha estado tocando para los Bravos desde la temporada 2009. Una figura popular en el mundo del béisbol, es conocido por entretener a la multitud con divertidos acompañamientos musicales cuando se anuncia un jugador del equipo contrario. NBC Sports en línea escribió una vez que "El organista de los Bravos es el tipo más genial del mundo". Además de tocar para los Bravos, también toca para varios equipos de béisbol universitarios y los Atlanta Gladiators (equipo de hockey ECHL). Matthew ha aparecido en The Atlanta Journal Constitution, Good Morning Atlanta y Good Day Extra de Fox 5, Weekend Edition de NPR y la BBC, y ha recibido críticas positivas "en el aire" de los locutores de los Bravos Don Sutton (lanzador del Salón de la Fama), Chip Carey. , Joe Simpson y Jim Powell.

Kaminski aprendió a amar la música de su padre, un inmigrante polaco que tocaba el acordeón y cantaba melodías de polka en la casa. Comenzó a estudiar órgano a la edad de cinco años y continuó estudiando hasta la universidad, obteniendo una Maestría en Música de la Universidad Estatal de Georgia. Mientras asistía a la Universidad de Arizona y a la Universidad Estatal de Georgia, Matthew tuvo la suerte de actuar con Jimmy Heath, Jon Faddis, Joe Lovano, Conrad Herwig, Scott Wendholdt, Dave Samuels, Dave Freidman y otros maestros músicos de jazz. Además, Kaminski ha recibido lecciones privadas de órgano de jazz con Ike Stubblefield, Tony Monaco, Scott Giddens y Larry Goldings.

Fuera de su trabajo diurno estacional, Kaminski es un artista muy ocupado interpretando y grabando. Ha lanzado tres CD de estudio en Chicken Coup (Summit) Records de Tony Monaco: Taking My Time en 2010, Swingin' on the New Hammond en 2014 y Live at Churchill Grounds en 2016, así como un álbum digital autoeditado en 2013 de música del estadio llamada Stadium Organ Sounds. Su grabación más reciente de producción propia, Baseball Organ in Hi-Fi, presenta versiones completas para órgano solista de las canciones favoritas de los fanáticos que a menudo se tocan en los juegos de los Atlanta Braves. Además de estos esfuerzos en solitario, Matthew escribe música, toca y canta en una banda de rock and roll llamada Fairfax and 3rd, que está influenciada por los Beach Boys, Beatles, ELO, NRBQ y otras bandas basadas en la armonía. Fairfax y 3rd acaban de lanzar su primer sencillo en CD en 2019, Back to Vinyl / Wanna Make You Happy.

Matthew se mantiene ocupado en una variedad de situaciones musicales diferentes. Es miembro de una orquesta de salsa latina llamada Orquesta MaCuba, toca el acordeón para una banda de swing occidental llamada Back in the Saddle y dirige una banda de polka llamada The Georgia Polka Connection cantando, tocando el acordeón y el órgano. A lo largo de su carrera interpretativa, Kaminski ha compartido escenario con notables músicos de jazz: Dave Stryker, Don Braden, Kimberly Gordon, Henry Johnson, George Fludas, Greg Rockingham, Kyle Asche, Howard Paul, Bruce Forman, Jeff Hamilton, Leon Joyce Jr., Grant Green Jr., Gwen Hughes, Russell Gunn, Ethan Philion, Jason Miller, Alphonso Ponticelli, Annie Sellick y Pat Bergeson. Matthew también tuvo el placer de actuar con muchos músicos notables de otros géneros, incluidos: The Drifters, Puddles Pity Party, m.o.e., John Driskell Hopkins (Zac Brown Band), The Yacht Rock Revue, Tim Smith, Ruby Velle, Blair Crimmins, John McCutcheon. , Chuck Brodsky, Alex Meixner y Oliver Wood (Los hermanos Wood).

Kaminski se enorgullece de haber sido elegido artista Hammond Organ/Leslie Speaker. Actúa regularmente con los altavoces Hammond SK1, SK2 (que es el órgano que Matthew toca en Truist Park, el hogar de los Atlanta Braves), XK3 y Leslie 21 System.
https://hamiltonjazz.com/discography/matthew-kaminski-l-a-connection/

www.matthewkaminski.com ...

 

Matthew Kaminski • Taking My Time

Review by Michael G. Nastos

Hammond B-3 organist Matthew Kaminski hails from Georgia, and offers a new and different perspective to playing his instrument, combining some aspects of soul-jazz, funk, standards, and be-bop on select tracks from this, his mid-major-label debut. Blessed with a great deal of taste but not overwhelming chops, Kaminski balances his sound just right with jazz and blues, covering only a few classics and dealing his original compositions with a full hand of face cards. On the Richard "Groove" Holmes 12-bar blues/bop oldie "Sweatin," and the Lou Donaldson's boogaloo "Hot Dog," Kaminski shows his respect for the tradition, but changes up completely for Brian Wilson's "Caroline, No" in an easygoing Latin mood on the modified pop song. Five originals are included that showcase a budding Kaminski as a thinker and inventor as on the slow drag of the John Scofield-like title track, the light but a bit dirty "Flip the Lid," the more ethereal "Mazzy," and the inventive "Karolina," a snappy ankle-biting song in 15/8 time. Pleasing and not overwhelming, Matthew Kaminski shows great promise as a studio player, while his live shows likely stretch out farther. This recording comes recommended, with much more to come.

https://www.allmusic.com/album/taking-my-time-mw0001956598

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Reseña de Michael G. Nastos

El organista de Hammond B-3 Matthew Kaminski es de Georgia y ofrece una perspectiva nueva y diferente para tocar su instrumento, combinando algunos aspectos del soul-jazz, funk, standards, y be-bop en temas selectos de este, su debut en el medio del sello. Bendecido con una gran cantidad de gusto, pero no con chuletas abrumadoras, Kaminski equilibra su sonido a la perfección con el jazz y el blues, cubriendo sólo unos pocos clásicos y tratando sus composiciones originales con una mano llena de cartas en la cara. En el Richard "Groove" Holmes 12-bar blues/bop olddie "Sweatin", y el boogaloo "Hot Dog" de Lou Donaldson, Kaminski muestra su respeto por la tradición, pero cambia completamente por "Caroline, No" de Brian Wilson, en un ambiente latino relajado en la canción pop modificada. Se incluyen cinco originales que muestran a un Kaminski en ciernes como pensador e inventor, como en el lento arrastre de la canción de John Scofield, la ligera pero un poco sucia "Flip the Lid", la más etérea "Mazzy", y la inventiva "Karolina", una canción que mordió el tobillo en 15/8 de tiempo. Agradable y no abrumador, Matthew Kaminski se muestra muy prometedor como jugador de estudio, mientras que sus programas en vivo probablemente se extienden más allá. Esta grabación viene recomendada, con mucho más por venir.

https://www.allmusic.com/album/taking-my-time-mw0001956598

www.matthewkaminski.com ...

 

 

Matthew Kaminski • Baseball Organ in Hi-Fi

Organist Matthew Kaminski’s day job during baseball season is as organist for the Atlanta Braves, but outside of that he is a busy jazz organist, and his third album for Chicken Coup finds his working group  captured at Atlanta’s Churchill Grounds club.

His quartet with saxophonist Will Scruggs, the fantastic guitarist Rod Harris Jr. (who some may know for excellent Youtube transcription and instructional videos) and drummer Chris Burroughs is augmented on six of the ten pieces by vocalist Kimberly Gordon.  As is also the case with vocalist Alyssa Allgood’s tribute to the Blue Note oeuvre, “Out of the Blue”, the addition of a vocalist to a traditional organ combo is a welcome and fresh addition.

The vocalist’s stylized vocals are at their best on “April in Paris”, also featuring a tasty Grant Green/George Benson infused turn by Harris Jr, Duke Ellington’s “Just Squeeze Me”, and “If I Had You”.  Kaminski makes a wise choice to include some unusual fare in the organ group configuration by reprising the Beach Boys’ “Sail on Sailor” which he recorded previously on a studio album, making full use of Scruggs’ gorgeous tenor saxophone sound, and his passionate solos are highlights throughout the set.  Listen to his turn on Jimmy Smith’s classic blues, “Midnight Special”, keeping the barbecue going.  Kaminski’s basslines are tight as  well, his assured walking bass line in his unaccompanied intro to Jack McDuff’s “A Real Goodun” carry more than a hint of the signature McDuff slickness.

Furthermore, the atmosphere of the album is a throwback to classic “live” dates with organ such as the aforementioned McDuff’s “Live!” (Prestige, 1964) Jimmy Smith’s “The Boss” (Verve, 1968) or Grant Green’s “Live at the Lighthouse” (Blue Note, 1972).  Kaminski’s date is relentlessly grooving and from the soul.

​Reviewed by C J Shearn

https://www.jazzviews.net/matthew-kaminski---live-at-churchill-grounds.html

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El trabajo diario del organista Matthew Kaminski durante la temporada de béisbol es como organista de los Atlanta Braves, pero fuera de eso es un ocupado organista de jazz, y su tercer álbum para Chicken Coup encuentra su grupo de trabajo capturado en el club Churchill Grounds de Atlanta.

Su cuarteto con el saxofonista Will Scruggs, el fantástico guitarrista Rod Harris Jr (a quien algunos conocen por su excelente transcripción en Youtube y sus videos instructivos) y el baterista Chris Burroughs, se amplía en seis de las diez piezas de la vocalista Kimberly Gordon.  Al igual que en el caso del homenaje de la vocalista Alyssa Allgood a la obra Blue Note, "Out of the Blue", la incorporación de un vocalista a una combinación de órgano tradicional es una adición bienvenida y fresca.

La voz estilizada de la vocalista está en su mejor momento el "April in Paris", con un sabroso turno de Grant Green/George Benson infundido por Harris Jr, "Just Squeeze Me" de Duke Ellington, y "If I Had You" (Si te tuviera a ti).  Kaminski toma la sabia decisión de incluir una tarifa inusual en la configuración del grupo de órgano, reeditando "Sail on Sailor" de Beach Boys, que grabó previamente en un álbum de estudio, aprovechando al máximo el magnífico sonido del saxofón tenor de Scruggs, y sus apasionados solos son los más destacados en todo el plató.  Escucha su turno con el clásico blues de Jimmy Smith, "Midnight Special", que mantiene la barbacoa en marcha.  Las líneas de bajo de Kaminski también son estrechas, su línea de bajo segura en su introducción no acompañada a "A Real Goodun" de Jack McDuff tiene más de un indicio de la firma McDuff slickness.

Además, la atmósfera del álbum es un retroceso a las clásicas citas en directo con órgano como "Live!" de McDuff. (Prestige, 1964) de Jimmy Smith "The Boss" (Verve, 1968) o "Live at the Lighthouse" de Grant Green (Blue Note, 1972).  La cita de Kaminski es implacable e incesante.

Revisado por C J Shearn

https://www.jazzviews.net/matthew-kaminski---live-at-churchill-grounds.html

www.matthewkaminski.com ...

 

 

Matthew Kaminski • Swingin' On The New Hammond

Editorial Reviews

Todays Jazz Organists continue to evolve. Many are still lugging around vintage Hammond organs with Leslie tone cabinets but most are experimenting with the many light-weight clones that are currently on the market. Their styles are also breaking from tradition as more and more keyboard players jump on vintage organs and play them as if they were still on their clones. So, there is this interesting Jazz Organ mutation that is going on and the good news is that its appealing to a much wider audience.

Organist Matthew Kaminski’s day job during baseball season is as organist for the Atlanta Braves, but outside of that he is a busy jazz organist, and his third album for Chicken Coup finds his working group  captured at Atlanta’s Churchill Grounds club.

His quartet with saxophonist Will Scruggs, the fantastic guitarist Rod Harris Jr. (who some may know for excellent Youtube transcription and instructional videos) and drummer Chris Burroughs is augmented on six of the ten pieces by vocalist Kimberly Gordon.  As is also the case with vocalist Alyssa Allgood’s tribute to the Blue Note oeuvre, “Out of the Blue”, the addition of a vocalist to a traditional organ combo is a welcome and fresh addition.

The vocalist’s stylized vocals are at their best on “April in Paris”, also featuring a tasty Grant Green/George Benson infused turn by Harris Jr, Duke Ellington’s “Just Squeeze Me”, and “If I Had You”.  Kaminski makes a wise choice to include some unusual fare in the organ group configuration by reprising the Beach Boys’ “Sail on Sailor” which he recorded previously on a studio album, making full use of Scruggs’ gorgeous tenor saxophone sound, and his passionate solos are highlights throughout the set.  Listen to his turn on Jimmy Smith’s classic blues, “Midnight Special”, keeping the barbecue going.  Kaminski’s basslines are tight as  well, his assured walking bass line in his unaccompanied intro to Jack McDuff’s “A Real Goodun” carry more than a hint of the signature McDuff slickness.

Furthermore, the atmosphere of the album is a throwback to classic “live” dates with organ such as the aforementioned McDuff’s “Live!” (Prestige, 1964) Jimmy Smith’s “The Boss” (Verve, 1968) or Grant Green’s “Live at the Lighthouse” (Blue Note, 1972).  Kaminski’s date is relentlessly grooving and from the soul.

 

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Editorial Reviews
Todays Jazz Organists continue to evolve. Many are still lugging around vintage Hammond organs with Leslie tone cabinets but most are experimenting with the many light-weight clones that are currently on the market. Their styles are also breaking from tradition as more and more keyboard players jump on vintage organs and play them as if they were still on their clones. So, there is this interesting Jazz Organ mutation that is going on and the good news is that its appealing to a much wider audience.

El trabajo diario del organista Matthew Kaminski durante la temporada de béisbol es como organista de los Atlanta Braves, pero fuera de eso es un ocupado organista de jazz, y su tercer álbum para Chicken Coup encuentra su grupo de trabajo capturado en el club Churchill Grounds de Atlanta.

Su cuarteto con el saxofonista Will Scruggs, el fantástico guitarrista Rod Harris Jr (a quien algunos conocen por su excelente transcripción en Youtube y sus videos instructivos) y el baterista Chris Burroughs, se amplía en seis de las diez piezas de la vocalista Kimberly Gordon.  Al igual que en el caso del homenaje de la vocalista Alyssa Allgood a la obra Blue Note, "Out of the Blue", la incorporación de un vocalista a una combinación de órgano tradicional es una adición bienvenida y fresca.

La voz estilizada de la vocalista está en su mejor momento el "April in Paris", con un sabroso turno de Grant Green/George Benson infundido por Harris Jr, "Just Squeeze Me" de Duke Ellington, y "If I Had You" (Si te tuviera a ti).  Kaminski toma la sabia decisión de incluir una tarifa inusual en la configuración del grupo de órgano, reeditando "Sail on Sailor" de Beach Boys, que grabó previamente en un álbum de estudio, aprovechando al máximo el magnífico sonido del saxofón tenor de Scruggs, y sus apasionados solos son los más destacados en todo el plató.  Escucha su turno con el clásico blues de Jimmy Smith, "Midnight Special", que mantiene la barbacoa en marcha.  Las líneas de bajo de Kaminski también son estrechas, su línea de bajo segura en su introducción no acompañada a "A Real Goodun" de Jack McDuff tiene más de un indicio de la firma McDuff slickness.

Además, la atmósfera del álbum es un retroceso a las clásicas citas en directo con órgano como "Live!" de McDuff. (Prestige, 1964) de Jimmy Smith "The Boss" (Verve, 1968) o "Live at the Lighthouse" de Grant Green (Blue Note, 1972).  La cita de Kaminski es implacable e incesante.

www.matthewkaminski.com ...