ORGAN TRANSPLANT LARRY GOLDINGS LEADS THE SONICALLY ECLECTIC LIFE OF A VALLEY JAZZ MASTER.

Byline: Fred Shuster Music Writer

As the missing link between such diverse musicians as James Taylor, Maceo Parker and Madeleine Peyroux, Hammond B3 organist Larry Goldings brings a near-telepathic quality to concerts and recording sessions.

Goldings' respect for his unwieldy instrument's tradition is offset by a relentless desire to explore its potential. His musical language, peppered by blues, calls upon a deep knowledge of harmony and a love for American popular song and contemporary classical music.

Outside of his day job as keyboardist in James Taylor's band, Goldings is in demand as first-call session hand and leader of his own all-star trio. In what's certain to be one of the year's musical highlights, that straight-ahead ensemble - which also includes stellar guitarist Peter Bernstein and drummer Bill Stewart - kicks off a five-night stand Tuesday at the Jazz Bakery.

``When it feels good, the organ trio is one of the nicest sounds you can possibly make,'' Goldings said. ``It's the combination of blues and gospel. In our group, we mix up the traditions with original tunes and pieces modeled after popular songs. I don't write for the organ - it's just kind of whatever I compose, we try and make it work for the trio.''

Goldings sidesteps the pull-out-the-stops bravado of Hammond B-3 jazz giants Jimmy Smith and Jack McDuff, coming closer to the lyricism of 88-key conversationalist Bill Evans than a Billy Preston rave-up. Perhaps because his early years were spent studying piano with such reflective players as Keith Jarrett, Ran Blake, Jaki Byard and Fred Hersch, Goldings gravitates toward an introspective approach - although he's plainly capable of turning up the rotating Leslie speaker and blasting out a greasy slab of F-minor blues.

``I'm a little bit of an outsider in that realm,'' Goldings said of jazz organ's familiar foghorn blast. ``A lot of organ trios center around the B-3, while the guitar takes a secondary role. I prefer to give most of the tune to Peter (Bernstein) to play melody. I personally love the role of accompanist. It's a much more democratic sound when we're all sharing.''

Goldings' close musical rapport with Stewart and Bernstein dates back to 1988, when the Boston-born keyboardist landed a steady gig at a pianoless bar called Augie's on New York's Upper West Side. This was Goldings' training ground as an organist, and he was soon featured with several bands, including those of drummer Leon Parker and saxophonist Jesse Davis.

It was also the spot where he began jamming with the Manhattan-based guitarist and drummer with whom he's cut nine albums, including the current ``Sweet Science'' disc.

``Larry's my oldest musical friend,'' says Bernstein, who returns to the Bakery after the Goldings series to play with Dr. Lonnie Smith's equally fine organ trio Jan. 18 to 23. ``He's always been a musical sponge, able to soak up everything. There's a certain thing that happens when we play based on all the time we've spent together. It's sort of telepathic, a shared history. And we still surprise each other on stage.''

The intriguing, ethereal sound cooked up by the threesome recalls such beloved jazz organ milestones as Larry Young's near-mystical Blue Note sessions and the subtle interplay between Mel Rhyne and Wes Montgomery.

``What Larry's trio does is kind of incredible,'' said the Jazz Bakery's Ruth Price, recalling a string of memorable Goldings dates at the Culver City jazz room one year ago. ``They seem to be inside in each other's heads. It's purely intuitive and very magical.''

Goldings, 36, relocated to the East Valley from New York three years ago to raise his family. Although the Los Angeles jazz world isn't even faintly in the same league as New York's thriving scene, Goldings keeps busy between James Taylor gigs by playing record dates like ``Careless Love,'' the breakout album from eclectic singer Peyroux that recently nailed down the No. 3 spot on the national jazz chart for two months.

After the Bakery gigs, Goldings returns to the Apple for an 11-night stint accompanying jazz vocalist Jessica Molaskey at the Algonquin Hotel.

``Life in L.A. is giving me an excuse to really concentrate. If there were more places to play around here, I'd be playing them. But different cities offer different opportunities. There's good and bad everywhere you go.''

Fred Shuster, [phone]

fred.shuster(at)dailynews.com

THE LARRY GOLDINGS TRIO

Where: Jazz Bakery, 3233 Helms Ave., Culver City.

When: 8 and 9:30 p.m. Tuesday through Saturday.

Tickets: $25. [phone]; www.jazzbakery.com.

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Photo:

While playing the Hammond B3 organ, with its dual keyboards and array of bass pedals, Larry Goldings aims for a different sound than the instrument's soul-jazz forebears.