Joey DeFrancesco studied music in Philadelphia through high school but was dissuaded from further studies, probably, because of the tremendous response he was receiving from people who heard him play... He couldn't rationalize more study when invaluable learning experience was offered to him. Case in point: at age sixteen, Joey was asked to play organ along with some other high school music students on a show which boasted Miles Davis as a guest. "It was a show in Philadelphia called, 'Time Out'", recalls Joey, "and we were asked to be the house band in the show that day and Miles was also being interviewed on the show that day. They took four young trumpet players from the Philadelphia school system and had them play in front of Miles... and Miles... you know...after the first cat played, they said, 'How did he sound, Miles?' and Miles said, 'He needs to practice'...you know... he had no interest in what these cats were playing and the fourth cat who played...played some nice stuff!... and they asked Miles a question and in the middle of this guy's question Miles said, 'Hey, what's your organ player's name?' (laughing) He threw the talk show host totally off guard. The guy said 'Joey DeFranco'; he didn't even get my name right at that time. I was sixteen and Miles really liked me. He took my number, gave me a big hug... He punched me in the chest and said, 'You can play!'" Now with that kind of encouragement, it would seem awfully hard to choose a scholarship to Berkeley School of Music over the opportunity to go on the road with Miles Davis. "I saw how rough he was to the other cats there but he called me a year later and said, '(Do) you want to play with the band?... Come on up to New York and I'll show you some stuff'... and we got together and it really all started right there". 
Papa John and Laurene thought about this offer made to their son but decided in favor of it in spite of Joey's age. "It was like a college education in music", says Papa John, "He went to Europe with Miles and it was very exciting. It changed his whole life". Change would come in many ways. Joey began concentrating more on the masters of jazz and their techniques. He applied what he was learning directly to the organ... soloing with his right hand as Miles would have on his trumpet or Coltrane on his saxophone. Then, with his left hand, he would try and emulate what Ray Brown or Ron Carter would be doing in the basement. He even picked up the trumpet as a second instrument in his performing and emulated the Miles Sound. Joey's talent grew as did his popularity around the world. After the contract with Columbia Records dried up, Joey recorded for several different labels and in various formats. He has appeared as a side man with guitarists Dave Stryker, Jimmy Bruno, Danny Gatton, Randy Johnston and the world renowned John McLaughlin with whom he has traveled the globe and gathered thousands of new fans. He has been in the studio with saxophonists Houston Person, Gary Thomas, Kenny Garrett, Ron Holloway and Eric Alexander not to mention the legendary Illinois Jacquet. His willingness to mix it up with other organists is unabashed. He has recorded with Lonnie Smith and Jack McDuff but has played in Jazz Festivals and Organ Jams throughout the world with just about every other player out there (no... he hasn't been able to entice Jimmy Smith to the band stand quite yet). ( Now he has actually!!!! Click here!!). Recently, Joey taped a performance at Philadelphia's "Ortlieb's Jazz Haus", with only his drummer, Byron Landham, which should be a one-of-a-kind recording. There's so much in the can on him that we'll be seeing new Joey DeFrancesco work for years and years to come. His name has been marketable within the keyboard industry from the moment he hit the scene. Joey has endorsed a variety of products and is a popular demonstrator at venues like the NAM shows. He has represented Roland/Rogers and also has given the nod to Hammond-Suzuki, Voce and Ensoniq in the past. He is currently under contract with Concord Records. 
I've always said that it was Joey who rekindled the flame of Jazz Organ in this country with his exciting entrance into the music world. Although Jimmy Smith never gave up on the Hammond throughout the eighties and should always be commended for his perseverance, the music was simply out marketed by that of synthesizers. Enters Joey in the late eighties with a sanitized, high-budget, five-CD deal with Columbia... He's being hailed as the next B-3 King and already numerous pianists are thinking about doubling on the old war-horse themselves just as Sir Charles Thompson and Marlowe Morris did forty years before when Wild Bill Davis came on the scene. All of a sudden the quiet voices claiming that 'Jazz Organ is back' become louder and louder. Soon, older players like Jimmy McGriff and Charles Earland are switching back to their B-3s and cats who played during the organ's hey-day, like Mel Rhyne and Hank Marr, are dusting off their Hammonds for another try at the brass ring. Names like Big John Patton and Lonnie Smith are being heard once again and players who haven't been heard (or seen!) in years begin to surface in small clubs and festival events. The people from Philadelphia, Newark, Buffalo or Harlem aren't hearing anything new because 'Jazz Organ' has been so much a part of their vocabulary, historically, that they never knew it had gone into hibernation. They never gave up on players like Trudy Pitts, Shirley Scott, Gene Ludwig, Johnny Hammond Smith or Don Patterson but the reality was that the commercial music world had... and probably thought they had left the Hammond for dead... Joey said "NO". 
I truly believe that Joey came on the scene to remind us all of the tremendous contribution that Hammond organ jazz has made in our American Music. Now, that might sound pollyanna of me but I can base it on several facts. First of all, Joey comes from Philadelphia where he has had every possible opportunity to see and hear the true Masters at work. Secondly, he comes from a family that has a history in and deep appreciation for Jazz Organ. Joey's father instilled in him a foundation in Jazz Organ which couldn't have been learned in any educational institution. And thirdly, he has had personal tutelage from some of the most important jazz musicians in the world. I believe that Joey feels Jazz Organ is a family affair and that it is his duty to support it just as it is his duty to support a parent or family member in need. Joey's intentions have always been to resurrect the tradition of Jazz Organ by soaking in all that has gone on before him and to recapitulate this music for a newer and younger audience. I don't think he wanted to challenge the undisputed heavy-weight champion of Jazz Organ, Jimmy Smith, or stake claim to a revitalized genre. Joey has had nothing but praise and admiration for Jimmy and all those who have preceded him on the bench. His rise to fame represents all Jazz Organists and allows them to come back out to center stage once again... This is the important thing to remember about Joey DeFrancesco over and above his incredible talent. 

Courtesy by
Heater De Francesco

from www.joeydefrancesco.com