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After Joey DeFrancesco’s Hammond B-3 organ became a favorite with a new generation of soul-jazz fans in the ’90s, part of the spotlight fell on Joey’s teacher — his father, “Papa” John.

Papa, it turns out, had been jamming away in local Philadelphia clubs since the original soul-jazz boom in the ’60s. He just never recorded. After taking time out to manage his son’s career, Papa John finally got back to what he liked best — digging into the Hammond B-3. His latest release is “Jumpin’ ” a collection of tasty, late-night blues and earthy, soulful grooves.

When Papa John was coming up in the late ’60s, Philadelphia was the capital of soul jazz. The city was crowded with B-3 masters such as Jimmy Smith, Jack McDuff, Charles Earland and Jimmy McGriff, to name just a few. Each had his own style, ranging from hard bop to blues, soul, even modal jazz, inspired by a young sax player who cut his teeth in local Philly clubs — John Coltrane. Influenced in part by all these players, Papa John’s music keeps their original flavor intact.

Papa John’s previous release, “Hip Cake Walk,” covered more territory than “Jumpin’ ” and sounded like a well-planned studio recording. “Jumpin’, ” in contrast, feels like the last set in a swinging club — less precision, but with more soul. Most of the tunes are blues spun out into long jazz solos and pumped up with plenty of soul and funk grooves. The result hits like a plate of barbecue ribs with all the fixings washed down with an ice-cold beer — greasy and gratifying.

Though DeFrancesco’s full tones and wailing solos form the core of this album, the other musicians are given plenty of room to show off their down-to-it chops. Jacques Johnson on tenor sax brings in the blues with deep, throaty tones that speak with relaxed savvy. His original “24/7” kicks off the CD with straightforward blues, and the title track, a Jimmy Smith-style burner, has him climbing one peak after the next, squawking here, letting in space there, and playing just like he wants to.

Adding an electric edge is Papa John’s other son, Johnny, who lays down guitar riffs behind his father’s solos with smooth sophistication. But he cuts loose, too. On ” Latin Groove Duce,” Johnny’s solo bites into the swinging “clave” with fervor while drummer Glenn Ferracone keeps everything tight but flowing.

DeFrancesco’s organ playing on “Jumpin’ ” is more relaxed and confident than ever before. He’s not out to prove anything, other than the contention that the Hammond B-3 is the funkiest instrument ever made, but this pleasing soul jazz release proves that, and then some.

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