Blues Blast Magazine

Good music is good music. What Jeremy Baum has created here is a musical wonderland. Divergent musical genres peek in and out and the end result is a delightful sonic stew. Jeremy’s main instrument is the Hammond B3 organ, followed by acoustic and electric pianos. Funky soul jazz is the jumping off point to which accents of New Orleans R&B, blues, cool jazz and other forms are added as seasoning.

The music has a definite sense of jazzy whimsy to it. Four cover versions of well know songs and one obscure cover plus five originals are given a very entertaining treatment. Seventeen year old wunderkind Myles Mancuso and Chris Vitarello of The Bruce Katz Band provide the guitar support. Horns and congas are also thrown into the mix of the largely instrumental proceedings and the trusty rhythm section never misses a move. All systems gel.

Jeremy didn’t attain his talent by accident, he paid his musical dues alongside the likes of Shemekia Copeland(six years in her band), Levon Helm, Sue Foley, Debbie Davies, Murali Coryell and others. This CD showcases the fruits of his labors.

A brief accordion interlude introduces Beck’s “The New Pollution”, then Jeremy’s trademark Hammond B3 sound leads the way joined by sax, flute and electric piano for a joyfully arranged ride. The original “Funky Monkey” evokes the memory of organ great Jimmy Smith as Myles Mancuso’s guitar explores the stratosphere.

“Three More Bottles” is a Grand piano excursion through the New Orleans sound with a nicely soulful vocal and harmonica supplied by Chris O’Leary. This tune easily deserves a place along side any classic Big Easy song. The vocal and piano just ooze gumbo. “Charlie Baum” is Jeremy’s tribute to Vince Guaraldi’s “Peanuts” sound tracks. His acoustic piano is the sole lead instrument as he struts his jazzy stuff in beautifully mellow style. Orlean’s “Dance With Me” is given a pretty faithful organ-based interpretation.

“Borracho” is a cover of an obscure 70′s West Coast band called Dyna-Might. It’s a lively organ romp fueled by a horn section. Myles Mancuso’s soaring guitar powers “Pacific Drive”. James Brown’s “Ain’t It Funky Now” is a guitar battle over the cool jazz organ.

“Purple Rain” receives the requisite melancholy reading via Chris Vitarello’s soulful guitar mastery and Jeremy’s organ and piano. Chris’ not-bending takes off into a life of its’ own. The title tune pulls out all the funky-jazz stops with Hammond B3, MiniKorg-700 and KorgR3 dogfighting with Myles Mancuso’s guitar.

This CD is well suited for your next backyard cookout on a lazy Sunday afternoon. This music just gets under my skin. I play it so much that I have an EEL on my back.


(Translated from Dutch)

Keyboard player, blues sideman and session musician Jeremy Baum, was in 1971 near Woodstock, NY, was born. Jeremy was playing in his fifth piano. He listened in his youth to the LPs of his parents. He heard "The Beatles" and "Sly & the Family Stone," but Jimmy Smith, Jimmy McGriff and Ray Charles. Jeremy studied jazz at the University of New Paltz, NY, while he played with the band Murali Coryell. Murali is the son of jazz guitarist Larry Coryell. While he studied Jeremy also took lessons with organist Larry Goldings. Jeremy founded his own organ trio in 2002 and brings his debut "Lost River Jams" out. The album fits in with blues and funk / soul / jazz of the late '60s bands like "Booker T. & the MG's" and "The Meters".

As a sideman Jeremy Baum made over the years, even though quite an impression. He worked as, among others already working with (and the row is again quite long and certainly not completely!) Shemekia Copeland, Levon Helm, the North Mississippi Allstars, John Hammond Jr., Sue Foley, Debbie Davies, Chris O'Leary, Jim Weider , Litte Sammy Davis and Richie Havens. Baum from 1997 to 2007 member of the Latino band "Soñando". In 2014 Jeremy Baum was initiated as 'Master Blues Artist' in New York Blues Hall of Fame.

With his second album "The Eel" (2013) Jeremy is after eleven years with ten funky tracks, five of his own compositions and arrangements of songs from Beck, Prince and James Brown. In all numbers is the Hammond B3 organ centrally. He was not alone with Dave Gross in "Fat Rabbit Studios in Montclair, NJ, for there were also invited a long line of guests. These were in addition to the two guitarists (the seventeen year old) Myles Mancuso and Chris Vitarello (Bruce Katz), including Jay Collins Greg Allman Band), Juma Sultan (Jimi Hendrix), Chris O'Leary (Levon Helm), Eric Kalb (John Scofield) Michael Bram (Watermelon Slim), Chris Reddan (Poppa Chubby), Scott Sharrard (Greg Allman Band), Eddie Torres, Tony Tino, Anthony Candullo and Dennis Gruenling.

Jeremy Baum opens "The Eel" with the first cover, a song from Beck's album "Odelay" (1997), the groovy hit "The New Pollution". There is first a short accordion intro, then the first Hammond B3 signature and then Jay Collins on saxophone and flute, piano completed. "Funky Money" Baum describes as "an original B3 party jam" in which Myles Mancuso late first heard that he was a guitar prodigy. The second original "Three More Bottle" is the first song with vocals by Chris O'Leary. The song is infatuated with New Orleans, where the piano and harmonica are central. Third original "Charlie Baum" is a joke and reference to Charlie Brown Vince Guaraldi, an American jazz pianist and composer, who became famous through his music for "Peanuts" TV cartoons. "Dance With Me" is a tribute to a friend of Baum, Larry Hoppen. Larry Hoppen Lewis (1951-2012) was the co-founder, singer and guitarist of the pop rock group "Orleans" from Woodstock. Baum reworked this classic and hit "Orleans". Besides all organ grooves is here the modest harmonica Dennis Greunling that stands out. The cover of Mike Aversa's ("Dyna-Might") "Borracho" is an extensive organ orgy, by a horn section (Collins / DeMier / Jones), which is kept under control. A snack is the original instrumental "Pacific Drive" with an open space for Mancuso. Baum probably heard James Braun if he's funky guitar track (both guitars) "Is not It Funky Now" wrote. After this there is the latest cover. More than seven minutes long, there is an instrumental version of the classic Prince "Purple Rain". This song is a guitar song, which Vitarello now turn. Baum controls everything with delicious jazzy interventions. The title track "The Eel" also closes the album. The song is also very funky, but contains a lot of jazz and rock elements.

Jeremy Baum is the man and his Hammond B3 organ, which knows to create atmospheres, combining elements of blues, jazz, R & B and rock mixes a yet undefined musical alloy. The more you listen to his grooves, the stronger you become entangled in his musical web. Smooth boy Baum!

Eric Schuurmans

The Chronogram

Jeremy Baum The Eel

(2013, Flying Yak Records)

The title track of Woodstock-born keyboard wizard Jeremy Baum's latest outing, The Eel, is a funky barnburner with a Hendrix-inspired guitar solo—courtesy of Myles Mancuso—that perfectly encapsulates everything that's great about the album: For all of its eclecticism and genre hopping, The Eel remains rooted in greasy soul jazz. Baum's career, which features stints from artists ranging from Levon Helm to Shemekia Copeland, is a testament to his comfort in a variety of musical settings. On The Eel, he tackles a strong set of originals and covers with a changing lineup of sidemen, including guitarists Mancuso, Chris Vitarello, and Scott Sharrard, drummers Eric Kalb and Chris Redden, and reedsman Jay Collins.

It is an indication of Baum's skill as a leader that the album coheres as well as it does, especially given the wide-ranging musical territory he covers. There is a gentle acoustic reading of Orleans's soft-rock staple "Dance with Me" featuring the harmonica of Dennis Gruenling, while the original "Three More Bottles" features guest vocals from Chris O'Leary and some Allen Toussaint-esque piano from Baum, bringing to mind a different kind of Orleans. Covers of Beck's "The New Pollution" and James Brown's "Aint It Funky Now" allow Baum to let loose with his funky organ chops. Perhaps the most remarkable performance, however, is the gorgeous reading of Prince's anthemic "Purple Rain," on which Vitarello's guitar soars. There is a great deal to enjoy on Baum's latest. Don't let it slip away.

Making a Scene .org

Jeremy Baum

The Eel

Flying Yak Records

Jeremy Baum is a world class Hammond B-3 and piano player who is also a first call session musician. Baum’s first cd was 2002’s “Lost River Jams”. Baum’s music is rooted in the funky soul jazz of Booker T and The MG’s, the Meters, Jimmy Smith, and Jack McDuff. Where has Baum been ? Baum spent six years in Shemekia Copeland’s band and has worked with Levon Helm, Melvin Sparks, Debbie Davies, Albert Castiglia, Chris O’Leary and countless other artists. Baum is a master at coaxing tones and soulful textures from the keys.

Baum enlists musicians with whom he has worked with over the years. His rotating band on these ten tracks includes guitarists Chris Vitarello or Myles Mancuso ; drummers Eric Kalb, Chris Reddan, or Michael Bram; and Juma Sultan on Congas. The album is engineered by Dave Gross.

The cd opens with a cover of Beck’s “New Pollution”. Jay Collins plays tenor sax on this soul jazz instrumental. Vitarello is on guitar. ”Funky Monkey” is a Baum original B-3 party jam. This time its Myles Mancuso handling the guitar chores.

“Three More Bottles” features Chris O’Leary, vocal and harmonica, on this New Orleans styled song. “Charlie Baum” is “Jeremy’s nod to Vince Guaraldi and the Peanuts” krewe. Matt Raymond sits in on acoustic bass.

“Dance With Me” is an instrumental arrangement of the “Orleans” classic written by Larry Hoppen. Dennis Gruenling guests on harmonica. “Borracho” is a Boogaloo cover. Phil DeMier, trumpet and Dean Jones, trombone, join Collins to complete the horn section. Eddie Torres is on congas.

“Pacific Drive” is a guitar driven instrumental featuring Mancuso. Baum states he was inspired by both The Crusaders and Larry Carlton. “Ain’t It Funky Now”, is a B-3 funk jam ala James Brown featuring Vitarello on guitar. Conga player Sultan sings.

“Purple Rain” is an instrumental version of the Prince classic again featuring Vitarello on guitar. The title Track “The Eel” is a funky instrumental inspired by Led Zeppellin. Mancuso is on guitar.

This is a fabulous mostly instrumental B-3 party. I’d love nothing more than to see Baum perform these compositions live at some jazz club. Baum is a monster on the keys. This is highly recommended listening.

Keys and Chords Blog

(Translated from Dutch)

Jeremy William Baum is a Hammond B3 and piano virtuoso from New Windsor, New York. Although he was born not far from the legendary site Woodstock in 1971 and grew up among the record collection of his parents. The Beatles and Sly and The Family Stone were just like a lot of Jazz and R & B artists rife in Jeremy's parents' house. He studied jazz with brio at the State University of New York at New Paltz. That made music Jeremy in Murali Coryell's band. Between 2005 and 2011 he was a regular attendant at Shemekia Copeland. After his self-produced debut album 'Lost River Jams' from 2002, which was buried under particularly handsome superlatives in the trade press is 'The Eel' his second solo album. Between 6 and February 12, 2013 Jeremy popped with some stellar guest musicians the Fat Rabbit Studios. The whole is 10 tracks long and was canned under expert guidance of Dave Gross. The album is full of funky new instrumental compositions that are full of Hammond B3 organ and piano-driven arrangements. The opening track already sounded us not entirely unknown in the ears. It's Becks cover 'The New Pollution' in an instrumental jacket was stopped. Guitarist Chris Vitarello and Jay Collins on tenor sax in addition to Jeremy's keys important links. The song 'Funky Monkey' has already stolen his title. It sounds particularly fresh and funky with its settlements is suddenly very difficult to sit still. "Three More Bottles' has a New Orleans touch, and is the only part sung on the release. Chris O 'Leary' himself 'takes the vocal and harmonica honors. In addition to Jeremy's lively piano tunes are already the guitar riffs of Vitarello and Matt Raymond's acoustic bass strings important joints. The exciting jazzy structure of the song 'Charlie Baum "is only a precursor to the modern and popgetinte' Dance With Me '. Dennis Greunling does, besides Vitarello's guitar riffs, a nice chipped in with his Bleusy harp. The track 'Borrachio' turn has that funky arrangements. The content of the song is further embellished by a trio of horns and strong percussion Eddie Tores. In the cozy 'Pacific Drive' Jeremy serves on Myles Mancuso (electric guitar) and Juma Sultan with his remarkable congas. James Brown Jeremy takes the classic 'Is not It Funky Now'. Vitarello strings (left speaker) getting reinforcements handsome guitarist Scott Sharrard in the right speaker. Prince 'wereldit' Purple Rain ', we have already enjoyed several covers. Still, Jeremy gives a special touch to this classic. Vitarello's superb guitar stirs Jeremy's piano and Hammond completely. The closing title track 'The Eel' can hardly be placed in a category. It sounds great at times stilted and gives the right impression of a rock opera germinated.

Nashville Blues Society / Don and Sheryl's Blues Blog





If you are a fan of different styles of music, then we have a treat for you, courtesy of the fine folks over at the Vizztone Label Group.  We bring you a review of Jeremy Baum’s “The Eel.”  Jeremy is no stranger to the spotlight, having spent six years as the keyboard man in the Shemekia Copeland band.  On “The Eel,” he puts his myriad of keyboard skills to work on an eclectic mix of soul, blues, funk, Latino and New Orleans-styled grooves that are purely irresistible, with nine instrumentals and one vocal track.  Also dropping by are several of Jeremy’s musical friends from both the NYC and Woodstock area to add color and flair to this set.

Jeremy not only has an ear for the masters of the past such as Jimmy Smith and Jack McDuff, but he keeps his finger on the pulse of contemporary sounds, too.  Check out the leadoff “The New Pollution,” a swingin’ take on the Beck hit.  “Funky Monkey” and “Ain’t It Funky Now” are both highly-danceable grooves reminiscent of James Brown and Graham Central Station.  “Borracho” is a stone slab of horn-driven Latino funk, while “Pacific Drive” is just that–a light, breezy trip up the California coast with the top down.  Both of these cuts feature the standout guitar work of seventeen-year old (!) prodigy Myles Mancuso, a young man with a brilliant future, indeed!

We had two favorites, too.  Jeremy’s acoustic piano work is straight outta N’Awlins on the set’s lone vocal cut, Chris O’Leary’s “Three More Bottles,” as he begs for his “one more last chance, baby!”  And, we dare you to try and not form a mental image of the Peanuts gang as you listen to “Charlie Baum,’ with its nods to both Guaraldi and Ramsey Lewis.

Yeah, the eel is a slippery character.  And, Jeremy Baum slides “The Eel” all over the musical map in a set that is a guaranteed good time!!  If you want something new and decidedly different, give this one a try!!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Poughkeepsie Journal

New CD from Jeremy Baum offers soul, jazz and the blues

John W. Barry, Poughkeepsie Journal 12:16 a.m. EDT June 19, 2014

A veteran of performing in Dutchess County, keyboard player Jeremy Baum will hold a CD release party at The Falcon in Marlboro June 26 for 'The Eel.'

The Hammond B3 organ has always fascinated me.

Whether I'm hearing it played at Madison Square Garden or a small club in the Hudson Valley, I just can't get over the way in which its sound is manipulated — squeezed, squished, poked, flung like a Frisbee, drawn tight like the sail on a ship or let loose like a flag on a pole.

This instrument can provide a canvas for lead guitar solos or thumping bass solos, or it can shine front and center. I'll take it any way it's delivered.

One Hammond B3 player I've been watching for years is Jeremy Baum of New Windsor, whose touch on the keyboard can be tender or torrential, quiet or quick.

Baum, a graduate of the State University of New York at New Paltz who has performed often in Dutchess County, doesn't just play his instrument, he draws sound from it. He teases sound from the organ, coaxes it out, and at the right moment, he propels it forward, to a legion of faithful followers who enjoy his fusion of soul, jazz and the blues.

And just as they're chewing on it all, Baum lobs another one their way.

He simultaneously negotiates and executes his way up and down that keyboard, while keeping the crowd abreast of any and all musical equations he happens to piece together, with the insight of a college professor and the sheer joy of a kid in a candy shop.

All of this brings me to Baum's new CD, "The Eel," a dissection of musical genres stamped with the personality of a musician who knows when to take a gallop to a stampede, when to batten down the hatches and when to throw caution to the wind.

This CD has a lot of great tunes on it. But if it only had "Pacific Drive" on it, just one song, it would be worth getting your hands on. Written by Baum, this bouncy, optimistic song meanders just enough to pique your curiosity, but returns repeatedly to the grit and grime of a good blues tune, thanks in large part to the unrelenting guitar licks of Myles Mancuso, who is originally from LaGrange.

I found myself playing this song over and over, tapping my feet and rocking back and forth in my chair.

You can learn more at You can also check out Baum's CD release party, which is set for the Falcon in Marlboro on Thursday. With these tunes, prepare to move — and be moved.

Jeremy Baum will hold his CD release party at the Falcon, 1348 Route 9W, Marlboro. Showtime is 7 p.m. Visit or call 845-236-7970 for information.

John W. Barry's column appears every Friday:, 845-437-4822. Twitter: @JohnBarryPoJo

The Working Musician (.com)

Jeremy Baum puts the fun back into keyboard-based, instrumental garage-rock. Think back to "99 Tears" by Question Mark and The Mysterians or "Wooly Bully" and "Little Red Riding Hood" by Sam the Sham and The Pharaohs. The Sixties managed to reflect the turmoil as well as the joy in American society. We still share the distress -- but Jeremy Baum puts smiles back on our faces. Our star here finds himself surrounded by some of New York's finest -- guitar (Chris Vitarello, Myles Mancuso, Scott Sharrard), vocals (Chris O'Leary), drums (Eric Kalb, Chris Reddan, Michael Bram), bass (Matt Raymond, Tony Tino, Anthony Candullo), sax (Jay Collins), percussion (Dave Gross, Juma Sultan, Eddie Torres), harmonica (Dennis Gruenling), trumpet (Phil DeMier), trombone (Dean Jones). Jeremy Baum produced the album and guitar phenonomen Dave Gross captured it at Fat Rabbit Studios in Montclair, New Jersey.

The jubilant music romps wild. It kicks off with "The New Pollution," a one chord stomp with a bass line similar to The Beatles' "Tax Man". Baum pegs the perfect Hammond B3 tone to weave in with Vitarello's so tasteful guitar. "Funky Monkey" gets the blues down on the "good foot." Baum turns his organ up and lets it all hang out! The turnaround provides the hook. "Three More Bottles" features Chris O'Leary apologizing for his bad behavior. Woman gone -- but plenty of booze and harp playing! Don't know who "Charlie Baum" is, but this composition reeks of Ramsey Lewis!

Lots of variety on this album. "Borracho" shows off horn-driven Latin roots. Myles Mancuso dominates on "Pacific Drive" with the tastiest R&B guitar. James Brown's "Ain't It Funky Now" launches a monumental blowing session between Chris Vitarello, Scott Sharrard, and Baum. The anthematic "Purple Rain" proves a most inspired cover. Once again, Baum and Vitarello bob and weave like brothers from a different mother! The title cut, "The Eel," evokes Soulive and allows Mancuso and the group to show off monster tempo changes and chops!

Jeremy Baum manages to bring "peace, love, and happiness" back to instrumental music. He mainlines his inner joy. Job exceedingly well done!

©2014 Roger-Z

Almanac Weekly

"Keyboardist Jeremy Baum has been a highly visible and in-demand regional-and-beyond sideman for a long time now, flexing his fine touch, great ears and multigenre fluencies in some pretty top-shelf blues, Latin and jazz settings. Like so many courted and coveted sidemen, Baum leads his own band as well, when he can, finding time about once a decade to record his own material with his sidemen of choice. 2003’s Lost River Jams was a funky, spacious set, foregrounding Baum’s tasteful Hammond and piano-playing. Owing more to the brainy, Monkish lines of a Larry Golding than to the non-stop blowing of Joey DeFrancesco, Baum keeps things fresh with jazz, Latin and gospel colors sprinkled throughout this fine trio-plus-friends blues session.

Baum has reconvened a trio – this time with guitarist Chris Vitarello and drummer Chris Reddan – for the soon-to-be released CD The Eel. It is this trio that Baum brings to the Liberty Lounge in Rhinebeck on Saturday, November 23 at 9:30 p.m. The Eel isn’t out yet, but the band will no doubt be offering a sneak peak of what to expect." (excerpt from article)

Blues Revue Magazine Dec/Jan 2005

We end this column the way it started, with Hammond organ excellence. Organ trio mastermind Jeremy Baum hits all corners of maps both traditional and trailblazing, with tunes ranging from Latin arrangements ("Liberty Street") to Booker T. soul ("Oasis Jam"), Jimmy Smith swing ("JB Shuffle") to jazz-rock funk ("Bill Showed Up"), blues ("Rock Me"), and spirituals ("Amazing Grace"). His tone and technique are superb, his core band (drummer Ernie Colon and guitarist Chris Vitarello) is impeccable, and his guests - especially Bill Perry on guitar - make LOST RIVER JAMS (Flying Yak 10002) a real find. Feel and sonics are perfect across the board. Highly recommended.