"I think the most important thing in life is to be happy. That does not only apply for the life as a musician. I would think this applies to life in general. I think that all “black” music is about to “have a good time”. It doesn’t matter if it is afrobeat, soul, samba, salsa, reggae, funk or blues. Most of them celebrate joy and happiness. I think this is quite different to European music or classical music."
Raphael Wressnig: Soul, Blues & Funk
Raphael Wressnig is not your ordinary B-3 organ player. He confidently brings out the inherent pyrotechnic power and mightiness of the large B-3 console and he is proud of his central role in performing what he calls “heavy organ soul & funk”. The majestic instrument, the Hammond organ, replaces the singer and plays the leads while its bass register locks in with the drums and carries the band. Wressnig concocts exciting mixed-genre music from his fervid imagination. His fluency in soul, funk, jazz and blues has garnered him the attention of an international claque of critics and multiple nominations, over the past decade, for both the DownBeat Critics and Readers Polls as “Best Organ Player of the Year". From New Orleans-style funk to soul and rhythm & blues, Wressnig’s percussive and greasy Hammond sounds conjure dynamic, high-voltage music. Old-school and new-school rendezvous in his style and his sound combines an authentic soul & blues vibe and a “lowdown” feel with a contemporary funk edge for a unique listening experience. (Raphael Wressnig / Photo by Thomas Luef/Lueflight)
Together with the Brazilian guitar master Igor Prado he shows the bright potential of soul, blues and funk in a modern world and will give the audience a new way to experience these old genres. In 2021 released their album ‘Groove & Good Times’. "LIVE" (2023) was a recording that revisits some material from the acclaimed studio album "Groove & Good Times" and some of the best stuff from their songbook. Artwork by Bryn Barklam from Tokyo, mixed and mastered by Igor Prado and produced by Raphael Wressnig. Soul and Christmas belong together like gingerbread and sugar glaze. Raphael Wressnig released a Christmas album, titled "SOULFUL CHRISTMAS with a Funky Twist (2023). Raphael Wressnig, one of the world’s foremost Hammond B-3 organists, returns with “Committed” (2025), a vibrant and dynamic new album that reaffirms his dedication to the timeless sound of the Hammond organ. Known for his mastery of this iconic instrument, Wressnig blends vintage tones with contemporary energy to create an irresistibly groovy sound that draws from soul, blues, jazz, R&B, and funk. The album features a trio in peak form, with Wressnig joined by long-time collaborators Enrico Crivellaro on guitar and Hans-Jürgen Bart on drums. Together, they navigate soulful ballads, hard-hitting boogaloos, and greasy funk with effortless chemistry. Wressnig’s mastery of the B-3 organ shines through as he continues to push boundaries while paying tribute to the Hammond’s rich legacy.
What has been the hardest obstacle for you to overcome as a person and as artist and has this helped you become a better musician?
As a musician and especially as a professional musician there are tons of obstacles to overcome. I want to point out one that is very personal, not superficial and it takes a while to realize: for me lately one of the most important things is being true to yourself and true to the music.
“Keepin’ it real” is phrase that is used a lot and a lot of people have good intentions. Actually it takes some backstrokes or setbacks and it takes years to grow as a musician. There are other aspects too: putting together a band and keeping a band on the road. All those aspects are quite challenging. In the last years I have learned to be true to myself and to “get inside” certain aspects of the music that I love. Getting "inside” a groove or style and not just copying, immitading or picking up a certain thing. Well, I never tried to copy stuff anyhow. Nevertheless lately, I want to get “inside” the music, feel it, breath it and just pour it out later, have the music wash over me and have it wash over the audience!
Do you have any stories about the making of the new album “Committed”? What touched you from the Gospel and Boogaloos music?
The new album Committed, the title kind of says it all. I really wanted to focus on what I’ve loved and been passionate about my whole life, which is organ-driven music and that whole world of rhythm and blues, soul funk, soul jazz. It’s a very personal album. I wrote most of the tunes myself, and that’s really the background behind it.
”I find different settings challenging, but they require different approaches and skills. As a musician, I have to be able to master all of them and develop the skills needed. Maybe it’s a bit like being a sportsman. Say, tennis — one week you play Wimbledon on grass, the next week it’s Paris on clay. It’s kind of the same with music. You have club gigs, festivals, or studio work. Each one needs different skills, but it’s all part of the job and the challenge.” (Raphael Wressnig / Photo by Thomas Luef/Lueflight)
Whatdo improvisation and composition mean to you and what, to you, are their respective merits? How do you usually approach music making?
That’s a great question. With the composition, you kind of lay it out, you pave the ground. You want a strong hook or melody, interesting chords, something that gives the song its vibe. But when we improvise or take a solo, we try to take the music to new places. And that’s the challenge. As a band, you want to explore and bring in new flavors, but still stay connected to the composition. So it’s like expanding the territory a little, but not losing the core of the song. I think this is something we try to figure out all our lives, to tell our story while staying within the context of the composition, the music, and the style.
What are you doing to keep your music relevant today, to develop it and present it to the new generation?
Yes, to me this is really important. I’m very aware that the instrument I play is vintage. The Hammond organ is an incredible instrument and it had a huge impact on music, but now it’s more than 70 years old. Music today has changed a lot. You’ve got PA systems, beats, electronic music, and all of that influences how people experience music now. So for me, playing that vintage instrument, I want it to feel relevant today. And that comes down to rhythm, groove, and how the sounds hit.
For example, when I record, the way the drums and my organ bass are captured, I want that to feel punchy and tight. Tight rhythms are really important to me. I want this music, when people hear it today, to sit next to other groove music, maybe even EDM, and still feel fresh. So the sound design has to fit into the present, even though the instrument and a lot of my inspiration come from the late 60s and early 70s. I just want to bring that vibe into the here and now.
And also the appeal and the vibe and how we set it up, it should inspire the younger generation too. Hopefully I can create a vibe that older generations can dig and that younger folks can feel as well, feel the joy in the music. So rhythm, groove, and basically just pure joy. That’s really what the music is about for me. It’s about creating a vibe and bringing joy. With the rhythm and the sounds, I want to make people dance and just feel that joy.
“With the composition, you kind of lay it out, you pave the ground. You want a strong hook or melody, interesting chords, something that gives the song its vibe. But when we improvise or take a solo, we try to take the music to new places. And that’s the challenge.” (Raphael Wressnig / Photo by Rudi Ferder)
What do you personally consider to be the incisive moments and pieces in your work and/or career?
There are several key moments, I would say. One is that pretty early on, in my early 20s, I already started recording my own music under my own name. And honestly, it was pretty similar stuff to what I do now. My first album was called Manic Organic. Looking back, the title itself, I probably wouldn’t choose something like that today. It’s not bad, it shows I was passionate and excited about what I was doing, but now I like to bring more depth and meaning to what I do.
Another big part of my story is that I really learned a lot from being on the road, playing with American bands. That’s where I learned the music in a real way. I played with some great blues, soul, and funk artists. Larry Garner from Baton Rouge was a mentor of mine. Later I toured with a project called Women of Chicago Blues, sort of an all-star group from Chicago, and those were some really heavy players. That’s how you learn, you get thrown into these tough situations. I also remember playing with Horacio Hernandez, who had just come off tour with Santana, and Craig Candy, guys like that, super heavyweights.
Joe Zawinul’s son, Eric Zawinul, actually recommended me for a Red Bull gig in Salzburg. So there were all these situations where, as a 20-year-old guy, I was suddenly on stage with these world-class musicians. And you either hang with them or you’re not on the gig anymore. I loved those challenges.
It’s funny, when you’re young you’re not always ready, but those moments push you to grow fast. Later on, you slow down a little, you become more confident in your own ideas, you find your language. All of those experiences helped me grow and shape my career.
Your work is known for creatively reimagining jazz, blues, funk, soul tradition. How do you balance respect for the roots with experimentation?
Great question. I always feel music needs to live in the here and now. It is like having a conversation. You don’t want to be stuck in old ideas or ways of thinking. Music has to feel alive today but it also needs to respect the classics and traditions it is built on. That is really how I see music and life. It is kind of a philosophy for me.
Some people are big innovators like Miles Davis who is known for changing the game. But even he started from tradition. So for me it is about balancing both. Honoring where the music comes from and pushing it forward. Some artists are more radical in how they innovate. Some stick closer to tradition. I am somewhere in the middle and I think both sides are important. Respecting tradition while moving ahead is what makes music exciting and everyone has their own way to innovate.
“It’s funny, when you’re young you’re not always ready, but those moments push you to grow fast. Later on, you slow down a little, you become more confident in your own ideas, you find your language. All of those experiences helped me grow and shape my career.” (Raphael Wressnig / Photo by Aigars Lapsa)
You’ve worked in many different settings, from clubs and studios to open air festivals. How do you navigate between these different worlds?
I find different settings challenging, but they require different approaches and skills. As a musician, I have to be able to master all of them and develop the skills needed. Maybe it’s a bit like being a sportsman. Say, tennis — one week you play Wimbledon on grass, the next week it’s Paris on clay. It’s kind of the same with music. You have club gigs, festivals, or studio work. Each one needs different skills, but it’s all part of the job and the challenge.
I like all of those settings and bring out different skills for each. Some skills you need no matter what, but others you bring out depending on the setting. For example, I really like intimate club settings. You can approach those with an old school entertainer vibe, something I learned from musicians like Larry Garner and the players from Chicago. For festivals, it’s a different skill set because you’re entertaining a bigger crowd.
In the studio, I bring different things to the table. Some come from the composition, some from the sound design, and some from where I take the music. For example, when I play an organ solo, I can choose to bring old school flavors like Jimmy Smith or Jimmy McGriff, or something more modern. I try to pick wisely what fits best for the music and the moment.
How did the idea of “Soulful Christmas (with a Funky Twist)” come about? Do you have any stories about the making of album with Alex Schultz, Hans-Jürgen Bart, Gisele Jackson, and Eric Cisbani?
I always liked soulful and groovy Holiday music. There is the killer Lou Rawls Christmas album. There is so much wonderful stuff (Booker T. & the MGs, Jimmy Smith, Jimmy McGriff, Fabulous Thunderbirds etc.). I think it is a challenge to touch on material that has been done so many times before. You have to come up with something genuine and special! I love that challenge. For me sitting behind the Hammond it always feels like Christmas. Music is joy and really enjoy playing the B-3 organ. Basically, it started during the pandemic. I recorded two Christmas tracks with Igor and Yuri Prado, and we released a Christmas vinyl single (7inch - a nice red pressing). We came up with two very groovy tracks. A year later I wanted to record something with Alex Schultz. Alex is such a tasteful player and a great friend. So, we released a digital EP. That was all during the pandemic. At some point last year, I thought that releasing the EP is fun but it should be a full album (on vinyl). That is a real record for me. So, we continued to work on it. One fun fact is that we finished the album in the (Summer) heat of early July. Pretty absurd playing Christmas songs in the Summer.
"I think I have grown on many levels, and I hope I have the chance to still grow. Growing as a Hammond organist is important, but it is nice to also grow as a player, musician, producer and artist. I think a strong asset of mine was always that I have a producer mind. I think I’m able to determine what is needed for a strong groove for a strong approach." (Raphael Wressnig / Photo by Tomasz Dorawa)
Why do you think that the Christmas music and songs continues to generate such a devoted following?
That is an interesting question. I’m not a religious person but I do like Christmas, and I really like the idea of the family coming together. Joy, peace and happiness are very important. Those things should be important all year long, but at least during the Holidays people are aware of it. For me music is an important part of the festivities and for the whole Christmas vibe. Since I am a musician, I am having fun contributing. On the other hand, it is a nice way for me to reach out to other audiences. Usually my organ-fueled type of soul, funk and rhythm & blues is a niche. Playing the Christmas repertoire, I can still play those styles but I can reach out to a wider audience!
Are there any specific memories from your Christmas holiday in Austria that you would like to tell us about?! Life is more than just music, is there any other field that has influence on your life and music?
Unfortunately, there is not always snow, but if there is snow around Christmas it sure feels good. I do like to ski still and there is a particular vacation trip that I did quite a while back. One week before Christmas and the ski resort was quasi empty, almost no snow but still good slopes, great weather. It was a perfect way to ease into the Holiday vibe. Well, I really like music and used to do a bunch of other things. Now it is mostly music. I like some other things like good food and wine too. The best thing about it is: they go together with music really well. Ha!!!
Do you have any interesting stories about the making of the live (2023) album with Igor Prado?
The live album was not really planned or mapped out. After releasing GROOVE & GOOD TIMES we had a few tours with Igor and Yuri. We had a wonderful release show in Brazil and two tours in Europe playing the repertoire. The concept and style of the songs was intended for live stages anyhow. So it just felt great to finally take those grooves and sounds on the road. The energy and vibe playing those songs to a live audience even embellished the songs and they grew. For GROOVE & GOOD TIMES we already tried to create a very unique and cool concept - playing groove music, setting up a funk and rhythm & blues vibe and we tried to infuse a lot of deep blues. Once we took those songs to stages the energy that we received from the audiences took the songs and our concept to the next level. In a way LIVE is a recording that documents this aspect nicely. It is not a blues album. There is a big groove aspect and overall it is more of a funk, rhythm & blues, soul thing, but a lot of deep blues is infused. It is vintage music but very much updated. It is a feel-good vibe and a “booty-shakin’” thing. After the last tune of the concert there were 1 minute and 45 seconds of applause before we came back for another encore. This is no fakery and not a simple trick for the album. We were exhausted and the audience was fired up - a full on feel-good vibe!
"For me music is pretty useless if it doesn’t have soul. Then again, after playing the Hammond for 25 years, I know my ways around the instrument, so I know some tricks and hooks. I never think about this too much - it just comes out naturally and I work on things, but mostly because I feel them and then I put some work into it so I can really nail them and so things are fluid, smooth: striving for smoothness and getting the audience on their feet dancing!" Raphael Wressnig & Igor Prado / Photo by Koen de Hauw)
From the musical and feeling point of view is there any difference between an old cat musician and young?
Definitely yes! This is a very interesting aspect. Actually I really believe me and Igor are right in between those things, which I consider as a very valuable and interesting thing! I’m very grateful for the possibility to learn to play that type of music on the road. Sharing the stage with experienced cats like Larry Garner, Phil Guy, Deitra Farr or some heavy jazz cats like Horacio Herandez, Jim Mullen, Craig Handy or recording with legends like James Gadson, George Porter, Jr., Walter “Wolfman” Washington gave me the tools and the knowledge in order I can do things that I am able to do now musically - which is very diverse and I can operate on many different levels. I would consider this old-school.
There are a lot of cool aspects of new approaches and the younger generation of musicians too! There are tons of killer players. Some things are mind blowing, there are a lot of very tight and impressive bands. It really grabs me if you can combine those two worlds, though!!!
Do you think there is an audience for jazz/blues/soul music in its current state? or at least a potential for young people to become future audiences and fans?
There is an audience for all those styles. There are tons of festivals. One thing that I regret is that those styles are niches! There are less and less moments where average people get in touch with blues, funk or jazz even though it’s “people’s music”. You can hear those styles in Netflix or TV series and obviously people are into it, but less and less often there is a blues band playing around the corner. I would love to see that. We don’t need to specialize, we need to bring it to the people, within a city or town fest, for a party on a Saturday night and on TV!!!
For me music is pretty useless if it doesn’t have soul. Then again, after playing the Hammond for 25 years, I know my ways around the instrument, so I know some tricks and hooks. I never think about this too much - it just comes out naturally and I work on things, but mostly because I feel them and then I put some work into it so I can really nail them and so things are fluid, smooth: striving for smoothness and getting the audience on their feet dancing! (Raphael Wressnig / Photo by Michael Mistelbacher)
"As a musician and especially as a professional musician there are tons of obstacles to overcome. I want to point out one that is very personal, not superficial and it takes a while to realize: for me lately one of the most important things is being true to yourself and true to the music."
How do you describe "Groove & Good Times" sound and songbook? How does NOLA sound affect your mood and inspiration?
Basically, we wanted to cut the most grooving organ trio recording that we are able to cut now. We want to move on and update the organ trio sound but still infuse it with lowdown blues while we make it funky!! When we prepared all those things and tunes, I really thought what organ styles I like the most or what I’m best doing in. On some of the previous recordings I think my roots are between McGriff, a r&b Jimmy Smith and Billy Preston. For this recording in some moments more of that r&b Jimmy Smith shines through, even though the grooves are more hard-hitting. I think one of the most amazing talents of Jimmy Smith was to deliver tons of variations of r&b phrasings and just make that Hammond sound burning. “The Cat” or “Who’s Afraid of Virginia Wolf” are good examples. He plays blues and r&b type stuff but keeps changing the hooks and licks and it just sounds so cool. We wanted to create a “groove” album. In a way this is following what I did in New Orleans recording “Soul Gumbo” and following up on “Chicken Burrito” with James Gadson and Alex Schultz. Igor (Prado) and I are into soul and funk but the concept was to infuse that groove music with lowdown blues with stuff that we grew up listening too and how we started out. Whereas other young funk formats sound rather clean we try to add a lot of grease. In a way I’m coming back to the very beginning of the record and updated "Electric Funk" or an updated McGriff funk-type thing was a first goal. We tried to pick some cool tunes and dig deep. The opening track “Kissing my Love” is a very nice example. It is a groovy blues or funky blues by Bill Withers and James Gadson just laid down that groove so strong. This is still the masterpiece that all young drummers try to cover. Nate Smith, right at this moment is a good example of channeling Gadson into a modern up to date thing. It is very interesting that a lot of organ groups covered some tunes many times, but “Kissing my Love” is not among those cool organ cover tracks even though you might think it is the perfect example. I know exactly why, haha! I was about to do something similar, adapt the bassline for an organ combo setting and simplify the bassline. Not that the bassline is complicated or complex, it is pretty simple, but it is syncopated, and it is kinda hard to dial in with the leads and melody. I’m glad that Igor pushed me and now we have something quite unique and cool. It is not the typical organ combo bass kinda thing.
Basically, this approach was something we continued throughout the record. I love all the historic recordings and I’m aware of a few cool new approaches. I love what Dr. Lonnie Smith is doing and he is doing the “funky thing” but still his bass lines are pretty organ combo oriented, and it is never really syncopated. There are recent examples, and those bands are quite successful. Soulive has been doing cool things and most recently Delvon Lamarr Organ Trio, but the bass is never really syncopated or relentless, actually quite weak sometimes. On the 70ies funk recordings of McGriff they use a lot of bass guitar and it sounds wonderful, still we thought that we need to find a way to make the organ bass sound right, fat, syncopated, groovy and hard-hitting. So doing some research on the sound design and what is crucial playing wise. We tried to keep the original Hammond setting and didn’t use any effects or tweaked a lot, just using the “organic”, hahaha, organ sound and just try to do it right and step into it. I have to be honest. It took me quite a while but I’m happy with the outcome!!!
"I always try to move on, come up with new ideas, new songs and new approaches even though the music that I’m playing hasn’t changed so much. The colors and vibes I use have changed and I try to update and come up with a fresh, funky and powerful approach!" (Photo: Raphael Wressnig & Igor Prado)
Do you have any interesting stories about the making of "Groove & Good Times" album with Igor Prado. How did that relationship come about?
I first played with Igor Prado at the Poretta Soul Festival in Italy in 2013. We released our album “The Soul Connection” in 2016. I travelled to Brazil in November and December 2019, and we had plans to record some tracks. Basically, we started a whole process. While travelling, on days-off, while having breakfast we were sharing ideas and concepts. We thought about how our music and new album should sound like, what we wanted to express. It was pretty clear very soon that an “updated” McGriff-type approach is the thing to start with.
Honestly, I shared so many concepts and thoughts with Igor the last two years and it was an amazing experience. One thought crossing our mind was that we are sort of the last generation that was on tour and learned from the originators. In a way being born in 79 and Igor in 1980 we are still young enough and hip enough to hang with the generation Youtube. There are a lot of great young cats out there, yet we really value the experiences and great moments on the road with some of the downhome blues cats.
Who are some of your very favorite artists or rather, what musicians have continued to inspire you and your music?
I like the older or classic generation of organ players. McGriff, McDuff, Jimmy Smith but I would think you learn every day and sometimes I learn a lot of stuff from music or players that are not even so good or don’t have the most impressive chops. I like stuff that is pretty lose and dirty too. Dave “Baby” Cortez is cool, or Jackie Mittoo. I like Ernest Ranglin all the stuff that comes from New Orleans. I like a lot of obscure stuff and don’t mind if the sound is rough. I get inspired by James Brown playing the Hammond B-3 even though he is a very poor organ player, but it is fun and anyhow: he is the man!
How do you think that you have grown as an artist since you first started making music?
I think I have grown on many levels, and I hope I have the chance to still grow. Growing as a Hammond organist is important, but it is nice to also grow as a player, musician, producer and artist. I think a strong asset of mine was always that I have a producer mind. I think I’m able to determine what is needed for a strong groove for a strong approach. I think I have a good feel for sounds. I never like to talk about organ tec issues or sound stuff. Think about some guitar nerds. They talk about effects and sounds for hours. To me this is so boring, yet I think I can get good sounds out of my Hammond, Wurlitzer piano or Hohner clavinet. I know about those things, but I don’t need no discussions or excurses down in Nerd-Ville. This is just boring to me. So, finesse and proper sounds, cool arrangements and how you put together a show. Stuff like that always attracted me and I think on those levels I have moved up too.
"Being patient is important. I like to put a lot of energy into the music, but you also have to be relaxed and take your time. The music I love takes a lifetime to master it. You never stop learning and I have the feeling it took me at least 20 years to have a proper roadmap to play those styles well. Now I feel ready and confident, but it took a long time. Still I’m learning every day and I try to push forward!" (Raphael Wressnig / Photo by Valentina Morianz)
What has remained the same about your music-making process?
I always try to move on, come up with new ideas, new songs and new approaches even though the music that I’m playing hasn’t changed so much. The colors and vibes I use have changed and I try to update and come up with a fresh, funky and powerful approach!
What are some of the most important lessons you have learned from your experience in the music paths?
Being patient is important. I like to put a lot of energy into the music, but you also have to be relaxed and take your time. The music I love takes a lifetime to master it. You never stop learning and I have the feeling it took me at least 20 years to have a proper roadmap to play those styles well. Now I feel ready and confident, but it took a long time. Still I’m learning every day and I try to push forward!
What do you think is key to a music life well lived? What do you hope people continue to take away from your music?
I think the most important thing in life is to be happy. That does not only apply for the life as a musician. I would think this applies to life in general. I think that all “black” music is about to “have a good time”. It doesn’t matter if it is afrobeat, soul, samba, salsa, reggae, funk or blues. Most of them celebrate joy and happiness. I think this is quite different to European music or classical music. I always loved that and in a way, this really fits my personality. I like to "have a good time". With the latest album we celebrate that and dig deep and try to present it in a new, punchy and powerful way. Everybody needs to make sure he or she has a “good time” and is able to share and spread love. If people can feel that or something similar and they can relate to the grooves, flavors and stories when they listen to our music, I’m happy!
Q&A with Raphael Wressnig, one of best organ players nowadays, funk edge for a unique listening experience
by Music Network by Michael Limnios
on Monday
"I think the most important thing in life is to be happy. That does not only apply for the life as a musician. I would think this applies to life in general. I think that all “black” music is about to “have a good time”. It doesn’t matter if it is afrobeat, soul, samba, salsa, reggae, funk or blues. Most of them celebrate joy and happiness. I think this is quite different to European music or classical music."
Raphael Wressnig: Soul, Blues & Funk
Raphael Wressnig is not your ordinary B-3 organ player. He confidently brings out the inherent pyrotechnic power and mightiness of the large B-3 console and he is proud of his central role in performing what he calls “heavy organ soul & funk”. The majestic instrument, the Hammond organ, replaces the singer and plays the leads while its bass register locks in with the drums and carries the band. Wressnig concocts exciting mixed-genre music from his fervid imagination. His fluency in soul, funk, jazz and blues has garnered him the attention of an international claque of critics and multiple nominations, over the past decade, for both the DownBeat Critics and Readers Polls as “Best Organ Player of the Year". From New Orleans-style funk to soul and rhythm & blues, Wressnig’s percussive and greasy Hammond sounds conjure dynamic, high-voltage music. Old-school and new-school rendezvous in his style and his sound combines an authentic soul & blues vibe and a “lowdown” feel with a contemporary funk edge for a unique listening experience. (Raphael Wressnig / Photo by Thomas Luef/Lueflight)
Together with the Brazilian guitar master Igor Prado he shows the bright potential of soul, blues and funk in a modern world and will give the audience a new way to experience these old genres. In 2021 released their album ‘Groove & Good Times’. "LIVE" (2023) was a recording that revisits some material from the acclaimed studio album "Groove & Good Times" and some of the best stuff from their songbook. Artwork by Bryn Barklam from Tokyo, mixed and mastered by Igor Prado and produced by Raphael Wressnig. Soul and Christmas belong together like gingerbread and sugar glaze. Raphael Wressnig released a Christmas album, titled "SOULFUL CHRISTMAS with a Funky Twist (2023). Raphael Wressnig, one of the world’s foremost Hammond B-3 organists, returns with “Committed” (2025), a vibrant and dynamic new album that reaffirms his dedication to the timeless sound of the Hammond organ. Known for his mastery of this iconic instrument, Wressnig blends vintage tones with contemporary energy to create an irresistibly groovy sound that draws from soul, blues, jazz, R&B, and funk. The album features a trio in peak form, with Wressnig joined by long-time collaborators Enrico Crivellaro on guitar and Hans-Jürgen Bart on drums. Together, they navigate soulful ballads, hard-hitting boogaloos, and greasy funk with effortless chemistry. Wressnig’s mastery of the B-3 organ shines through as he continues to push boundaries while paying tribute to the Hammond’s rich legacy.
Interview by Michael Limnios Raphael Wressnig, 2018 @ Blues.gr Interview
What has been the hardest obstacle for you to overcome as a person and as artist and has this helped you become a better musician?
As a musician and especially as a professional musician there are tons of obstacles to overcome. I want to point out one that is very personal, not superficial and it takes a while to realize: for me lately one of the most important things is being true to yourself and true to the music.
“Keepin’ it real” is phrase that is used a lot and a lot of people have good intentions. Actually it takes some backstrokes or setbacks and it takes years to grow as a musician. There are other aspects too: putting together a band and keeping a band on the road. All those aspects are quite challenging. In the last years I have learned to be true to myself and to “get inside” certain aspects of the music that I love. Getting "inside” a groove or style and not just copying, immitading or picking up a certain thing. Well, I never tried to copy stuff anyhow. Nevertheless lately, I want to get “inside” the music, feel it, breath it and just pour it out later, have the music wash over me and have it wash over the audience!
Do you have any stories about the making of the new album “Committed”? What touched you from the Gospel and Boogaloos music?
The new album Committed, the title kind of says it all. I really wanted to focus on what I’ve loved and been passionate about my whole life, which is organ-driven music and that whole world of rhythm and blues, soul funk, soul jazz. It’s a very personal album. I wrote most of the tunes myself, and that’s really the background behind it.
”I find different settings challenging, but they require different approaches and skills. As a musician, I have to be able to master all of them and develop the skills needed. Maybe it’s a bit like being a sportsman. Say, tennis — one week you play Wimbledon on grass, the next week it’s Paris on clay. It’s kind of the same with music. You have club gigs, festivals, or studio work. Each one needs different skills, but it’s all part of the job and the challenge.” (Raphael Wressnig / Photo by Thomas Luef/Lueflight)
What do improvisation and composition mean to you and what, to you, are their respective merits? How do you usually approach music making?
That’s a great question. With the composition, you kind of lay it out, you pave the ground. You want a strong hook or melody, interesting chords, something that gives the song its vibe. But when we improvise or take a solo, we try to take the music to new places. And that’s the challenge. As a band, you want to explore and bring in new flavors, but still stay connected to the composition. So it’s like expanding the territory a little, but not losing the core of the song. I think this is something we try to figure out all our lives, to tell our story while staying within the context of the composition, the music, and the style.
What are you doing to keep your music relevant today, to develop it and present it to the new generation?
Yes, to me this is really important. I’m very aware that the instrument I play is vintage. The Hammond organ is an incredible instrument and it had a huge impact on music, but now it’s more than 70 years old. Music today has changed a lot. You’ve got PA systems, beats, electronic music, and all of that influences how people experience music now. So for me, playing that vintage instrument, I want it to feel relevant today. And that comes down to rhythm, groove, and how the sounds hit.
For example, when I record, the way the drums and my organ bass are captured, I want that to feel punchy and tight. Tight rhythms are really important to me. I want this music, when people hear it today, to sit next to other groove music, maybe even EDM, and still feel fresh. So the sound design has to fit into the present, even though the instrument and a lot of my inspiration come from the late 60s and early 70s. I just want to bring that vibe into the here and now.
And also the appeal and the vibe and how we set it up, it should inspire the younger generation too. Hopefully I can create a vibe that older generations can dig and that younger folks can feel as well, feel the joy in the music. So rhythm, groove, and basically just pure joy. That’s really what the music is about for me. It’s about creating a vibe and bringing joy. With the rhythm and the sounds, I want to make people dance and just feel that joy.
“With the composition, you kind of lay it out, you pave the ground. You want a strong hook or melody, interesting chords, something that gives the song its vibe. But when we improvise or take a solo, we try to take the music to new places. And that’s the challenge.” (Raphael Wressnig / Photo by Rudi Ferder)
What do you personally consider to be the incisive moments and pieces in your work and/or career?
There are several key moments, I would say. One is that pretty early on, in my early 20s, I already started recording my own music under my own name. And honestly, it was pretty similar stuff to what I do now. My first album was called Manic Organic. Looking back, the title itself, I probably wouldn’t choose something like that today. It’s not bad, it shows I was passionate and excited about what I was doing, but now I like to bring more depth and meaning to what I do.
Another big part of my story is that I really learned a lot from being on the road, playing with American bands. That’s where I learned the music in a real way. I played with some great blues, soul, and funk artists. Larry Garner from Baton Rouge was a mentor of mine. Later I toured with a project called Women of Chicago Blues, sort of an all-star group from Chicago, and those were some really heavy players. That’s how you learn, you get thrown into these tough situations. I also remember playing with Horacio Hernandez, who had just come off tour with Santana, and Craig Candy, guys like that, super heavyweights.
Joe Zawinul’s son, Eric Zawinul, actually recommended me for a Red Bull gig in Salzburg. So there were all these situations where, as a 20-year-old guy, I was suddenly on stage with these world-class musicians. And you either hang with them or you’re not on the gig anymore. I loved those challenges.
It’s funny, when you’re young you’re not always ready, but those moments push you to grow fast. Later on, you slow down a little, you become more confident in your own ideas, you find your language. All of those experiences helped me grow and shape my career.
Your work is known for creatively reimagining jazz, blues, funk, soul tradition. How do you balance respect for the roots with experimentation?
Great question. I always feel music needs to live in the here and now. It is like having a conversation. You don’t want to be stuck in old ideas or ways of thinking. Music has to feel alive today but it also needs to respect the classics and traditions it is built on. That is really how I see music and life. It is kind of a philosophy for me.
Some people are big innovators like Miles Davis who is known for changing the game. But even he started from tradition. So for me it is about balancing both. Honoring where the music comes from and pushing it forward. Some artists are more radical in how they innovate. Some stick closer to tradition. I am somewhere in the middle and I think both sides are important. Respecting tradition while moving ahead is what makes music exciting and everyone has their own way to innovate.
“It’s funny, when you’re young you’re not always ready, but those moments push you to grow fast. Later on, you slow down a little, you become more confident in your own ideas, you find your language. All of those experiences helped me grow and shape my career.” (Raphael Wressnig / Photo by Aigars Lapsa)
You’ve worked in many different settings, from clubs and studios to open air festivals. How do you navigate between these different worlds?
I find different settings challenging, but they require different approaches and skills. As a musician, I have to be able to master all of them and develop the skills needed. Maybe it’s a bit like being a sportsman. Say, tennis — one week you play Wimbledon on grass, the next week it’s Paris on clay. It’s kind of the same with music. You have club gigs, festivals, or studio work. Each one needs different skills, but it’s all part of the job and the challenge.
I like all of those settings and bring out different skills for each. Some skills you need no matter what, but others you bring out depending on the setting. For example, I really like intimate club settings. You can approach those with an old school entertainer vibe, something I learned from musicians like Larry Garner and the players from Chicago. For festivals, it’s a different skill set because you’re entertaining a bigger crowd.
In the studio, I bring different things to the table. Some come from the composition, some from the sound design, and some from where I take the music. For example, when I play an organ solo, I can choose to bring old school flavors like Jimmy Smith or Jimmy McGriff, or something more modern. I try to pick wisely what fits best for the music and the moment.
How did the idea of “Soulful Christmas (with a Funky Twist)” come about? Do you have any stories about the making of album with Alex Schultz, Hans-Jürgen Bart, Gisele Jackson, and Eric Cisbani?
I always liked soulful and groovy Holiday music. There is the killer Lou Rawls Christmas album. There is so much wonderful stuff (Booker T. & the MGs, Jimmy Smith, Jimmy McGriff, Fabulous Thunderbirds etc.). I think it is a challenge to touch on material that has been done so many times before. You have to come up with something genuine and special! I love that challenge. For me sitting behind the Hammond it always feels like Christmas. Music is joy and really enjoy playing the B-3 organ. Basically, it started during the pandemic. I recorded two Christmas tracks with Igor and Yuri Prado, and we released a Christmas vinyl single (7inch - a nice red pressing). We came up with two very groovy tracks. A year later I wanted to record something with Alex Schultz. Alex is such a tasteful player and a great friend. So, we released a digital EP. That was all during the pandemic. At some point last year, I thought that releasing the EP is fun but it should be a full album (on vinyl). That is a real record for me. So, we continued to work on it. One fun fact is that we finished the album in the (Summer) heat of early July. Pretty absurd playing Christmas songs in the Summer.
"I think I have grown on many levels, and I hope I have the chance to still grow. Growing as a Hammond organist is important, but it is nice to also grow as a player, musician, producer and artist. I think a strong asset of mine was always that I have a producer mind. I think I’m able to determine what is needed for a strong groove for a strong approach." (Raphael Wressnig / Photo by Tomasz Dorawa)
Why do you think that the Christmas music and songs continues to generate such a devoted following?
That is an interesting question. I’m not a religious person but I do like Christmas, and I really like the idea of the family coming together. Joy, peace and happiness are very important. Those things should be important all year long, but at least during the Holidays people are aware of it. For me music is an important part of the festivities and for the whole Christmas vibe. Since I am a musician, I am having fun contributing. On the other hand, it is a nice way for me to reach out to other audiences. Usually my organ-fueled type of soul, funk and rhythm & blues is a niche. Playing the Christmas repertoire, I can still play those styles but I can reach out to a wider audience!
Are there any specific memories from your Christmas holiday in Austria that you would like to tell us about?! Life is more than just music, is there any other field that has influence on your life and music?
Unfortunately, there is not always snow, but if there is snow around Christmas it sure feels good. I do like to ski still and there is a particular vacation trip that I did quite a while back. One week before Christmas and the ski resort was quasi empty, almost no snow but still good slopes, great weather. It was a perfect way to ease into the Holiday vibe. Well, I really like music and used to do a bunch of other things. Now it is mostly music. I like some other things like good food and wine too. The best thing about it is: they go together with music really well. Ha!!!
Do you have any interesting stories about the making of the live (2023) album with Igor Prado?
The live album was not really planned or mapped out. After releasing GROOVE & GOOD TIMES we had a few tours with Igor and Yuri. We had a wonderful release show in Brazil and two tours in Europe playing the repertoire. The concept and style of the songs was intended for live stages anyhow. So it just felt great to finally take those grooves and sounds on the road. The energy and vibe playing those songs to a live audience even embellished the songs and they grew. For GROOVE & GOOD TIMES we already tried to create a very unique and cool concept - playing groove music, setting up a funk and rhythm & blues vibe and we tried to infuse a lot of deep blues. Once we took those songs to stages the energy that we received from the audiences took the songs and our concept to the next level. In a way LIVE is a recording that documents this aspect nicely. It is not a blues album. There is a big groove aspect and overall it is more of a funk, rhythm & blues, soul thing, but a lot of deep blues is infused. It is vintage music but very much updated. It is a feel-good vibe and a “booty-shakin’” thing. After the last tune of the concert there were 1 minute and 45 seconds of applause before we came back for another encore. This is no fakery and not a simple trick for the album. We were exhausted and the audience was fired up - a full on feel-good vibe!
"For me music is pretty useless if it doesn’t have soul. Then again, after playing the Hammond for 25 years, I know my ways around the instrument, so I know some tricks and hooks. I never think about this too much - it just comes out naturally and I work on things, but mostly because I feel them and then I put some work into it so I can really nail them and so things are fluid, smooth: striving for smoothness and getting the audience on their feet dancing!" Raphael Wressnig & Igor Prado / Photo by Koen de Hauw)
From the musical and feeling point of view is there any difference between an old cat musician and young?
Definitely yes! This is a very interesting aspect. Actually I really believe me and Igor are right in between those things, which I consider as a very valuable and interesting thing! I’m very grateful for the possibility to learn to play that type of music on the road. Sharing the stage with experienced cats like Larry Garner, Phil Guy, Deitra Farr or some heavy jazz cats like Horacio Herandez, Jim Mullen, Craig Handy or recording with legends like James Gadson, George Porter, Jr., Walter “Wolfman” Washington gave me the tools and the knowledge in order I can do things that I am able to do now musically - which is very diverse and I can operate on many different levels. I would consider this old-school.
There are a lot of cool aspects of new approaches and the younger generation of musicians too! There are tons of killer players. Some things are mind blowing, there are a lot of very tight and impressive bands. It really grabs me if you can combine those two worlds, though!!!
Do you think there is an audience for jazz/blues/soul music in its current state? or at least a potential for young people to become future audiences and fans?
There is an audience for all those styles. There are tons of festivals. One thing that I regret is that those styles are niches! There are less and less moments where average people get in touch with blues, funk or jazz even though it’s “people’s music”. You can hear those styles in Netflix or TV series and obviously people are into it, but less and less often there is a blues band playing around the corner. I would love to see that. We don’t need to specialize, we need to bring it to the people, within a city or town fest, for a party on a Saturday night and on TV!!!
For me music is pretty useless if it doesn’t have soul. Then again, after playing the Hammond for 25 years, I know my ways around the instrument, so I know some tricks and hooks. I never think about this too much - it just comes out naturally and I work on things, but mostly because I feel them and then I put some work into it so I can really nail them and so things are fluid, smooth: striving for smoothness and getting the audience on their feet dancing! (Raphael Wressnig / Photo by Michael Mistelbacher)
"As a musician and especially as a professional musician there are tons of obstacles to overcome. I want to point out one that is very personal, not superficial and it takes a while to realize: for me lately one of the most important things is being true to yourself and true to the music."
How do you describe "Groove & Good Times" sound and songbook? How does NOLA sound affect your mood and inspiration?
Basically, we wanted to cut the most grooving organ trio recording that we are able to cut now. We want to move on and update the organ trio sound but still infuse it with lowdown blues while we make it funky!! When we prepared all those things and tunes, I really thought what organ styles I like the most or what I’m best doing in. On some of the previous recordings I think my roots are between McGriff, a r&b Jimmy Smith and Billy Preston. For this recording in some moments more of that r&b Jimmy Smith shines through, even though the grooves are more hard-hitting. I think one of the most amazing talents of Jimmy Smith was to deliver tons of variations of r&b phrasings and just make that Hammond sound burning. “The Cat” or “Who’s Afraid of Virginia Wolf” are good examples. He plays blues and r&b type stuff but keeps changing the hooks and licks and it just sounds so cool. We wanted to create a “groove” album. In a way this is following what I did in New Orleans recording “Soul Gumbo” and following up on “Chicken Burrito” with James Gadson and Alex Schultz. Igor (Prado) and I are into soul and funk but the concept was to infuse that groove music with lowdown blues with stuff that we grew up listening too and how we started out. Whereas other young funk formats sound rather clean we try to add a lot of grease. In a way I’m coming back to the very beginning of the record and updated "Electric Funk" or an updated McGriff funk-type thing was a first goal. We tried to pick some cool tunes and dig deep. The opening track “Kissing my Love” is a very nice example. It is a groovy blues or funky blues by Bill Withers and James Gadson just laid down that groove so strong. This is still the masterpiece that all young drummers try to cover. Nate Smith, right at this moment is a good example of channeling Gadson into a modern up to date thing. It is very interesting that a lot of organ groups covered some tunes many times, but “Kissing my Love” is not among those cool organ cover tracks even though you might think it is the perfect example. I know exactly why, haha! I was about to do something similar, adapt the bassline for an organ combo setting and simplify the bassline. Not that the bassline is complicated or complex, it is pretty simple, but it is syncopated, and it is kinda hard to dial in with the leads and melody. I’m glad that Igor pushed me and now we have something quite unique and cool. It is not the typical organ combo bass kinda thing.
Basically, this approach was something we continued throughout the record. I love all the historic recordings and I’m aware of a few cool new approaches. I love what Dr. Lonnie Smith is doing and he is doing the “funky thing” but still his bass lines are pretty organ combo oriented, and it is never really syncopated. There are recent examples, and those bands are quite successful. Soulive has been doing cool things and most recently Delvon Lamarr Organ Trio, but the bass is never really syncopated or relentless, actually quite weak sometimes. On the 70ies funk recordings of McGriff they use a lot of bass guitar and it sounds wonderful, still we thought that we need to find a way to make the organ bass sound right, fat, syncopated, groovy and hard-hitting. So doing some research on the sound design and what is crucial playing wise. We tried to keep the original Hammond setting and didn’t use any effects or tweaked a lot, just using the “organic”, hahaha, organ sound and just try to do it right and step into it. I have to be honest. It took me quite a while but I’m happy with the outcome!!!
"I always try to move on, come up with new ideas, new songs and new approaches even though the music that I’m playing hasn’t changed so much. The colors and vibes I use have changed and I try to update and come up with a fresh, funky and powerful approach!" (Photo: Raphael Wressnig & Igor Prado)
Do you have any interesting stories about the making of "Groove & Good Times" album with Igor Prado. How did that relationship come about?
I first played with Igor Prado at the Poretta Soul Festival in Italy in 2013. We released our album “The Soul Connection” in 2016. I travelled to Brazil in November and December 2019, and we had plans to record some tracks. Basically, we started a whole process. While travelling, on days-off, while having breakfast we were sharing ideas and concepts. We thought about how our music and new album should sound like, what we wanted to express. It was pretty clear very soon that an “updated” McGriff-type approach is the thing to start with.
Honestly, I shared so many concepts and thoughts with Igor the last two years and it was an amazing experience. One thought crossing our mind was that we are sort of the last generation that was on tour and learned from the originators. In a way being born in 79 and Igor in 1980 we are still young enough and hip enough to hang with the generation Youtube. There are a lot of great young cats out there, yet we really value the experiences and great moments on the road with some of the downhome blues cats.
Who are some of your very favorite artists or rather, what musicians have continued to inspire you and your music?
I like the older or classic generation of organ players. McGriff, McDuff, Jimmy Smith but I would think you learn every day and sometimes I learn a lot of stuff from music or players that are not even so good or don’t have the most impressive chops. I like stuff that is pretty lose and dirty too. Dave “Baby” Cortez is cool, or Jackie Mittoo. I like Ernest Ranglin all the stuff that comes from New Orleans. I like a lot of obscure stuff and don’t mind if the sound is rough. I get inspired by James Brown playing the Hammond B-3 even though he is a very poor organ player, but it is fun and anyhow: he is the man!
How do you think that you have grown as an artist since you first started making music?
I think I have grown on many levels, and I hope I have the chance to still grow. Growing as a Hammond organist is important, but it is nice to also grow as a player, musician, producer and artist. I think a strong asset of mine was always that I have a producer mind. I think I’m able to determine what is needed for a strong groove for a strong approach. I think I have a good feel for sounds. I never like to talk about organ tec issues or sound stuff. Think about some guitar nerds. They talk about effects and sounds for hours. To me this is so boring, yet I think I can get good sounds out of my Hammond, Wurlitzer piano or Hohner clavinet. I know about those things, but I don’t need no discussions or excurses down in Nerd-Ville. This is just boring to me. So, finesse and proper sounds, cool arrangements and how you put together a show. Stuff like that always attracted me and I think on those levels I have moved up too.
"Being patient is important. I like to put a lot of energy into the music, but you also have to be relaxed and take your time. The music I love takes a lifetime to master it. You never stop learning and I have the feeling it took me at least 20 years to have a proper roadmap to play those styles well. Now I feel ready and confident, but it took a long time. Still I’m learning every day and I try to push forward!" (Raphael Wressnig / Photo by Valentina Morianz)
What has remained the same about your music-making process?
I always try to move on, come up with new ideas, new songs and new approaches even though the music that I’m playing hasn’t changed so much. The colors and vibes I use have changed and I try to update and come up with a fresh, funky and powerful approach!
What are some of the most important lessons you have learned from your experience in the music paths?
Being patient is important. I like to put a lot of energy into the music, but you also have to be relaxed and take your time. The music I love takes a lifetime to master it. You never stop learning and I have the feeling it took me at least 20 years to have a proper roadmap to play those styles well. Now I feel ready and confident, but it took a long time. Still I’m learning every day and I try to push forward!
What do you think is key to a music life well lived? What do you hope people continue to take away from your music?
I think the most important thing in life is to be happy. That does not only apply for the life as a musician. I would think this applies to life in general. I think that all “black” music is about to “have a good time”. It doesn’t matter if it is afrobeat, soul, samba, salsa, reggae, funk or blues. Most of them celebrate joy and happiness. I think this is quite different to European music or classical music. I always loved that and in a way, this really fits my personality. I like to "have a good time". With the latest album we celebrate that and dig deep and try to present it in a new, punchy and powerful way. Everybody needs to make sure he or she has a “good time” and is able to share and spread love. If people can feel that or something similar and they can relate to the grooves, flavors and stories when they listen to our music, I’m happy!
Raphael Wressnig - Home
(Raphael Wressnig / Photo by Rudi Ferder)