Carsie Blanton Brings Her Sultry Southern Sound to the Rockwood and Elsewhere
[republished from New York Music Daily]
Torchy New Orleans chanteuse Carsie Blanton is doing a different kind of American tour this year, inspired as much by her wildly popular blog as well as her music. She’s playing clubs, but she’s also appearing at sex toy shops. Here in New York, her first stop is at Babeland at 43 Mercer St. on July 12 from 3 to 5 PM. Then she’s playing the third stage at the Rockwood at 8 PM on July 13 for $10 plus a $10 drink minimum. Her aptly titled new album, Not Old, Not New is up at Bandcamp as a name-your-price download: you should grab it.
Is the album about sex? It’s more about innuendo. Blanton’s pillowy voice may be seductive, but in a genuine rather than campy or over-the-top way. She’s got a great, purist jazz combo behind her: Neal Caine on bass, Joe Dyson on drums, Rex Gregory on sax and clarinets, Kevin Louis on trumpet, Shane Theriot on guitar and David Torkanowsky on piano. The opening track, Azaleas sets the mood immediately, Blanton musing how “nothing evil can assail ya” against a sunmery backdrop of resonant piano, terse bass, brushed drums and balmy, muted trumpet. Blanton matches sly wit with southern charm on the slow, slinky Laziest Gal in Town, enhanced by a gently smoky bass clarinet solo. Then she and the band pick up the pace with the ragtime-flavored Heavenly Thing, a vibe they maintain on Two Sleepy People, a portrait of two lovers in the wee hours who’ve run out of gas yet can’t bear to part. It’s more coy than Daria Grace‘s unforgettably endorphin-infused version.
Blanton’s slow, wounded take of You Don’t Know What Love Is has a vividly stripped-down arrangement that contrasts brooding piano against fluttery tenor sax. Then she romps through a brisk take of What Is This Thing Called Love, spiced with a spiky Jason Marsalis vibraphone solo.
They go back to slow, low-key ballad mode for the picturesque Do You Know What It Means to Miss New Orleans. Blanton offers Sweet Lorraine from the perspective of a woman who’s getting gaymarried, with a slow, soulful piano-based arrangement that mirrors the album’s first song.
The funniest, most innuendo-fueled track here is the swinging hokum blues tune Don’t Come Too Soon. Blanton brings down the lights again with a slow, warmly wistful version of I’ll Be Seeing You and winds up the album with the title track, a miniature for just solo voice and acoustic guitar. Fans of oldtime Americana and swing jazz are in for a treat with this one.
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