Darren Heinrich - Riddle Diddle: The Prague Sessions

Dingo Jazz Journal Review - 4 stars - by Josh Unde

18 January 2026

I recently watched a video by Adam Levy, best known as one of the guitarists on Norah Jones’s breakout record Come Away With Me (though unquestionably a formidable artist in his own right), where he highlighted five albums that rekindled his love for the organ trio format. I would like to add one more to that list: Darren Heinrich’s Riddle Diddle: The Prague Sessions. Heinrich, a Sydney-based organist, studied under the late Dr. Lonnie Smith and is said to hold the world’s first PhD in jazz organ improvisation. His credentials reflect both his scholarship and artistry, and Australia should be proud to claim him as a leading global voice for the instrument. On The Prague Sessions, recorded in the Czech Republic, Heinrich is joined by guitarist Libor Šmoldas and drummer Jesse Simpson. Across the album’s 11 tracks, the trio locks in with vibrant cohesion while allowing space for each musician to shine. Heinrich’s organ delivers equal parts grit and lyricism, Šmoldas’s guitar lines sparkle with clarity, while Simpson’s drumming provides both propulsion and playful nuance. The result is a set that grooves with purpose, offering genuine emotional lift. I have already ordered my copy – so should you! Josh Underhill

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Review - All About Jazz

18 January 2026

All About Jazz - Review - 4 stars By Karan Khosla January 8, 2026 Darren Heinrich's Riddle Diddle: The Prague Sessions is an organ trio record rooted in swing and outstanding musicianship. The compositions are fresh, the arrangements are purposeful, and the performances show a band that understands how to use jazz language to push the boundaries of the classic organ/guitar/drums setup while keeping the music grounded and direct. "Wherever You Go" opens the album with a graceful sense of balance. The tune is a lyrical 3/4 with a strong AABA form, arranged cleanly to let the theme do its work. Both Heinrich's organ and Libor Smoldas's guitar solos unfold naturally, patiently treating the listener to melodic, bebop-heavy playing. The head returns briefly, followed by a final organ statement that feels earned rather than appended. "Riddle Diddle" leans harder into swing and does so with confidence. The composition is direct, and the playing stays tasteful throughout. The guitar solo carries a blues-inflected, Kenny Burrell-like economy, staying concise while still finding angular edges at the right moments. The organ's bass line and comping behind the guitar evoke a midnight-blue texture, with the groove locked in and the ride cymbal swinging relentlessly. Darren's organ solo enters with clear purpose. Nothing is excessive, and every phrase connects. The headout is in unison, built on strong intervallic writing and a blues-forward B section that lands cleanly. "Bowen's Lament" shifts the mood inward. This ballad is defined by its sparse texture and remarkable interplay. Aside from the lyrical guitar solo, much of the tune is carried by Heinrich, handling bass, melody, and accompaniment while conversing closely with Jesse Simpson's drums. The result is a focused, intimate performance that highlights control, independence, and deep listening. It functions as a quiet masterclass in organ playing within a trio setting. "Blues for Bobby Pierce" brings the trio back into a more extroverted space and tempo. The theme features unison lines articulated across hands and feet, with bass and keyboard moving as a single voice. Trading eights with the drums leads into a guitar solo that explores mood and dynamics before opening into a precise, technically clean eighth-note line. The phrasing stays spacious, with chromatic ascents and Pat Martino-esque double stops and chordal punctuations placed deliberately. The organ solo takes over the second half with authority, blending bebop and blues language while the guitar shifts into sparse, supportive comping. Two additional highlights deserve mention. "What the Doctor Ordered" is an excellent mid-tempo swing tune that oozes feel and clarity. "Barrenjoy Boogalo" closes the circle with a funk-inflected groove that stays grounded in the band's established aesthetic rather than breaking character. Riddle Diddle succeeds because it understands proportion. Each tune and each player knows their role. Every solo serves the form. The swing feels lived-in, the writing is clear, and the performances reflect a group that values intention over display. It is a focused trio record that rewards close listening, and a strong contemporary take on the classic organ-guitar trio.

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