Swingadelic Reinvents and Revisits Allen Toussaint Classics

Swingadelic‘s latest album, Toussaintville mines the Allen Toussaint catalog with verve, imagination and some absolutely delicious horn charts. It has most of the expected tunes (but thankfully no Mother in Law) and ends with a homage to the iconic New Orleans tunesmith. The big band’s charts are purist without being deferential, underscoring how vivid and also deceptively counterintuitive Toussaint’s songwriting has been for so long. One would think he’d enjoy this album immensely.

The opening track, Night People, sets the stage; like most of the others here, it’s a horn tune rather than a piano tune, in this case with a funky late 60s vibe, like the Crusaders back when they actually were the Jazz Crusaders. This song’s about a pickup scene, and this version captures that energy, low and cool but slinky all the same (the presence of bandleader Dave Post’s bass rather than bass guitar enhances that).

Toussaint plays Southern Nights Toussaint as a nocturne, and Swingadelic’s version succeeds at ramping up the energy, as you would expect from a large ensemble, while maintaining the original’s balmy atmospherics. The band also stays true to Toussaint by playing What Do You Want the Girl to Do as a stroll, with a neatly crescendoing arrangement and a tasty, opaque-toned Audrey Welber alto solo, and doing Sneaking Sally Through the Alley as a matter-of-fact backbeat swing tune. And Yes We Can Can gets a funky sway, but it doesn’t go over the top; instead, the band works devious tempo shifts and solos from bright alto, bluesy trombone and rather ambiguous soprano sax from Paul Carlon.

The biting On Your Way Down gets a scaled-down treatment to let the edge of the lyrics sink in, with simmering solos for slide guitar and lowdown tenor sax. The soul ballad Ruler of My Heart, sung by Queen Esther, is done more as a seduction than an entreaty. Conversely, they eschew buffoonery for righteous anger in the understatedly funky Get Out of My Life Woman, with its burnished brass and lively riffage making its way around the ensemble.

The band brings a lively go-go bounce to Everything I Do Gonna Be Funky, spicing it up with John Bauers’ roto organ, train-whistle harmonies and jaunty volleys of call-and-response. They do much the same with Fair Child, taking it way up and then way down until Boo Reiners’ slide guitar break brings it back. Arguably, the most interesting yet traditionalist arrangement here is the one on Working in a Coal Mine, which pulses along on drummer Jason Pharr’s syncopated clave: they make it clear that this one’s about a guy who’s all worn out from a tough job!

There are also a couple of ragtime-flavored tunes: Java, with an intricate arrangement that sends pieces of the theme spinning through the ensemble, and Whipped Cream, a shuffling second-line theme capped with an ecstatic Carlon soprano solo. There’s also the pulsing, bucolic waltz Up the Creek, with Bauers’ nostalgic but purposeful ragtime piano plus dixieland-flavored clarinet and trombone that begins very droll and then straightens out. Beyond the fact that Toussaint’s songs can be so ridiculously fun to play, there’s an awful lot to like here: charts that tease the imagination and inspired playing from an eclectic cast of characters including but not limited to Jeff Hackworth on tenor and baritone sax, John DiSanto on baritone sax, Albert Leusink and Carlos Francis on trumpets, Rob Susman, Rob Edwards and Neal Pawley on trombones, Boo Reiners on guitar, and also Jimmy Coleman also on drums.

Drew Glackin Memorial Concert at Rodeo Bar/The Deciders at Banjo Jim’s, NYC 1/17/08

Drew Glackin, who died unexpectedly earlier this month was honored tonight by a small handful of the literally hundreds who had the good fortune to share a stage or record with him. Like anyone else, musicians have different ways of coping with loss: usually, this boils down to disguising the pain with humor, drinking heavily or turning up really loud. Tonight there was plenty of all of the above. “This band will never be the same,” Jack Grace told the packed house, and he was right. Glackin was the baritone countrycrooner/bandleader’s lead player, on steel, and pretty much defined the sound of the band with his soaring, ringing washes of country soul and his fiery, terse, incisively bluesy solos. Glackin was not a nasty person, but his solos were. In country music, it’s so easy to fall into clichés, playing the same licks that have been Nashville staples for decades, but Glackin always avoided that trap. Taking his spot tonight on steel was Mike Neer, who to his credit didn’t try to hit the same highs Glackin would typically reach on a given night. The ex-Moonlighter is a purist and knew to hang back when necessary. Bill Malchow played honkytonk piano, and Grace’s wife Daria was at the top of her game, groovewise: it’s hard to think of a more fluid, spot-on country bass player. And she’s basically a rocker.

For some reason (a Glackin idea come to life?) the band also featured two drummers, Bruce Martin and Russ Meissner sharing what looked like a kit and a half. Grace is a great showman, and to his credit he played to the crowd as if this was a typical weekend at the Rodeo. The high points of his all-too-brief set came at the end where he went from absolutely white-knuckle intense, singing “angels, take him away” on the old John S. Hurt number Miss Collins, then bringing back the levity with his big audience hit Worm Farm. Grace explained that he’d written it during a period when pretty much all he could write was sad songs, and considering what the evening was all about, it hit the spot. In the middle of the song, Grace segued into a Joni Mitchell song for a couple of bars, complete with falsetto, just to prove that he hadn’t lost his sensitivity, and this was predictably amusing.

From the first scream from Walter Salas-Humara’s Telecaster, the Silos came out wailing, hard. Glackin’s replacement was Rod Hohl, best known for his sizzling guitar work, but as he proved tonight he’s also an excellent bassist. The band played a tantalizingly brief set of bristling indie rock, with Eric Ambel from Steve Earle’s band sitting in on second guitar. The high point was a thirteen-minute cover of a Glackin favorite, the Jonathan Richman chestnut I’m Straight, wherein the two guitarists faced off, trading licks throughout a blisteringly noisy duel every bit as good as anything Steve Wynn ever did. Nice to see Roscoe playing noise-rock again, something he’s very good at but hardly ever does anymore. His wife Mary Lee Kortes provided searing high harmonies on one tune with a recurrent chorus motif of (if memory serves right) “keep your dreams away from your life.” The band didn’t dedicate it to Glackin, but they might as well have: the guy never sold out. Which probably did him in. Very sad to say that if he’d been Canadian (or British, or Dutch, or French, or Cuban, for that matter), he would have had health insurance and the doctors would have detected the thyroid condition that went undiagnosed for too long.

Daria Grace’s band was scheduled to play next, but it was time to head east before the downtown 6 train stopped running (as it turned out, it already had), so that meant a 14-block walk south in the rain and a crosstown bus over to Banjo Jim’s for a nightcap. Which turned out to be a particularly good choice, because the Deciders were still onstage. They’re Elena Skye and Boo Reiners from Demolition String Band plus Lenny Kaye from Patti Smith’s band on pedal steel, plus a rhythm section. Tonight their bassist couldn’t make it, but that didn’t matter. Hearing Skye’s intense, emotionally charged voice in such small confines was a special treat, and watching Reiners and Kaye trade off on a bunch of DSB originals was fascinating to watch. Kaye’s guitar playing is edgy, incisive and potently melodic, but tonight he left that role to Reiners, instead playing fluid washes of sound in a call-and-response with the guitar. The high point of the night was a potently riff-driven new Skye song, Your Wish, from her band’s new album Different Kinds of Love, benefiting vastly from the energy of having two killer electric lead players sharing a stage. They finally shut it down after midnight. Just when it’s tempting to say that it’s time to stick a fork in New York and head out for parts unknown, the devil you know rears its head and reminds you why you haven’t left yet. Nights like this make it all worthwhile.

CD Review: Demolition String Band – Different Kinds of Love

It’s been a few years since Demolition String Band’s fantastic last cd, Where the Wild Wild Flowers Grow and it was worth the wait. This album manages to capture the explosive energy of their live show. In general, it’s more rock-oriented than their other stuff. Frontwoman Elena Skye has been a songwriting tear, and she hits a lot of highs here. The country influence is still in full effect, both in Skye’s mandolin work and Telecaster monster Boo Reiners’ spectacular bluegrass-inflected playing, but even the slower numbers here blaze with the twangy fire they bring to the stage. Considering the direction country radio has taken since the turn of the century, they couldn’t have released this album at a better time.

The cd opens with their big crowd-pleaser Who Taught You, with its catchy chorus of “hurt so bad.” The second track, the powerful, minor-key, midtempo backbeat-driven Your Wish may be the single best song on the album, a feast of guitar and mandolin textures. Wisteria is the obvious hit single, with its gorgeous intro and rolling, clanging, multitracked guitars (there must be about six of them on this tune), sounding like a Laura Cantrell rock song. It’s urban Americana at its best: “Wisteria on the hills of Jersey City.” After that, Baby Come Home is a traditional country song, but far more lushly arranged than your typical Nashville commercial fare, with mandolin and electric over a bed of acoustic guitars. Real Good Mama, dedicated to Skye’s daughter, is an optimistic number driven by incisive, heartfelt Reiners fingerpicking. They also do a surprisingly scorching, guitar-fueled version of the Ola Belle Reed classic Undone in Sorrow (an acoustic version of which appears on Where the Wild Wild Flowers Grow). After a sizzling Reiners electric bluegrass instrumental, the cd winds up with the boisterous Drinkin’ Whiskey, which will no doubt be useful to connoisseurs looking to differentiate between “your sellin’, and your drinkin’ whiskey.”

The rhythm section of Winston Roye on bass and the ubiquitous Phil Cimino on drums swings like crazy. Reiners’ Telecaster work is smart, effortlessly virtuosic, and hits the mark every time, imbued with a wit that runs the gamut from very subtle to completely off-the-charts funny. Skye’s vocals are raw, direct and potently real: she doesn’t try to fake a Bible Belt accent like the amber waves of gruesomely affected trendoids who’ve grown weary of imitating Sonic Youth and picked up their acoustic guitars.

Memo to college radio program directors: get your hands on this and spin Thinking About Drinking til you’re sick of all the audience requests. Memo to frathouse social directors: get your hands on this and put it on about 2 AM on a Friday night if you really want to keep the party rolling. Memo to the rest of the college population: if you have the means and the energy to do the Spring Break thing, leave the Jimmy Buffett, the Kenny and the Dave Matthews at home and bring this instead. It’s early in the year, but this album will definitely be on a lot of Best Of lists: watch this space about a year from now. Four bagels with a pitcher of strong bloody marys. What a great way to kick off the new year.

Concert Review: Demolition String Band CD Release Show at Rodeo Bar, NYC 11/16/07

If you want to buy something substantial, say, a car or a guitar, you want to take it for a spin. You want to hear what it sounds like. Likewise, it makes no sense to buy a cd sight unseen: no matter who’s putting it out, you need to know if it’s worth it. One surefire way is to hear the songs live: anybody can fix mistakes in the studio, overdub guitars or vocals til the cows come home, but how do the songs stand up without any added embellishments? If this show is any indication, Demolition String Band’s new one Different Kinds of Love completely and totally kicks ass.

X would be the closest comparison for this band. Although Demolition String Band aren’t punk by any stretch, they share the legendary LA band’s love for both American roots music and sheer guitar volume. In an age where rock has actually taken over country radio, this album is particularly well-timed. Tonight they mixed up a bunch of catchy, twangy country tunes with a couple of blazing straight-up rock songs and some dazzlingly played bluegrass.

They opened on the rock tip with Hurt So Bad, featuring a Stonesy Keith Richards-esque intro from Telecaster master Boo Reiners and followed that with the best song of the night. Written by frontwoman Elena Skye – who’s been on something of a tear lately coming up with new material – it rocked all the way through its ominous minor-key intro until they reprised it at the end. Then they invited their friend Rina (Did we spell it right?) to sub the backing vocal part that Mary from Southern Culture on the Skids did on the recorded version of the pretty, traditional country tune I Wanna Wear White.

The band blazed through their reliably crowd-pleasing cover of Madonna’s Like a Prayer – “See, Madonna can write a great country song, she just doesn’t know it,” Skye told the audience – and then returned to their originals with a fast, backbeat-driven song inspired by Skye’s daughter, and then the twangy, midtempo Baby Won’t You Come Home on which Skye switched to mandolin. Reiners took over lead vocals on another relatively new Skye song, the fast, electric bluegrass number Thinking About Drinking, then thry brought it down again with a slow ballad on which Reiners played his heart out with a long solo.

Their cover of the Ola Belle Reed classic Where the Wild Wild Flowers Grow rocked hard, crescendoing with a bluesy 70s rock guitar solo. On the tune after that, Reiners left his wah-wah pedal (or was it a flange?) wide open during another long solo, letting his tone phase in and out and the way he made the melody work with it was as impressive as it was amusing. After a fast bluegrass instrumental followed by their excellent new song Drinking Whiskey (a tribute to bootleggers, it seems, carefully explaining how “you got your selling, and your drinking whiskey”) they closed their long, exuberant first set with the old bluegrass standard True Love Never Dies. As if to check to see how hard the crowd was listening, Reiners threw in several sly Beatles quotes, then they sped it up almost doublespeed, finally wrapping it up as he played the big hook from Hendrix’ Little Wing. Party music doesn’t get much more clever or entertaining than this. Lookout Nashville, here they come. CDs are currently available online for pre-order or at shows (Demolition String Band usually play Rodeo Bar at least once a month when they’re not on the road playing with SCOTS or some other good country touring band).

Concert Review: Demolition String Band at Rodeo Bar, NYC 6/9/07

Uncommonly fun country band at the top of their game. Demolition String Band know how to work a crowd, raising their glasses and leading the audience in a “holler and a swaller,” and speeding up a bluegrass tune to the point where it was practically unplayable. But these guys (and frontwoman) aren’t a bar band: they may thrive in that milieu, but they’re a lot smarter. This is real country music: as LJ Murphy famously said, country music is the kind of music that has nothing to do with Garth Brooks. Although Demolition String Band are a boisterous, electric outfit, they wear their bluegrass and old-timey roots proudly on their sleeves.

Lead singer Elena Skye sang with a casual grace, in the Maybelle Carter mold: she doesn’t overemote. Telecaster player Boo Reiners pretty much stole the show all night with his spectacular, sometimes supersonic, twangy leads and fills – although Skye caught fire as well when she picked up her mandolin and started wailing. Predictably, alcohol figures in a lot of their songs – they’ll be huge if the swinging Thinking About Drinking and the fast, electrified bluegrass tune Drinking Whiskey (both of which they played tonight) get onto college radio.

They’d played a John Prine tribute a few days earlier and dragged out a particularly apt cover, the outlaw country tune Your Flag Decal Won’t Get You into Heaven Anymore. They also did their signature spaghetti western theme, Reiners playing baritone guitar on it this time: Skye told the crowd that she wrote it in the bathroom during a recording session. Pretty productive bathroom break. They stretched it out, drummer Phil Cimino taking a long solo that the crowd went nuts over (nobody ever said the audience here was sophisticated – which is odd because New York country audiences tend to be very sharp, sometimes ridiculously so).

At the end of their first set, they launched into the old bluegrass standard True Love Never Dies and then segued into Fortunate Son by Creedence. How nice to be able to actually understand the lyrics – which are actually really good. Then they segued back into the bluegrass tune and took it just about doublespeed. Impressively, bassist Winston Roye didn’t cop out and play everything in the usual tempo and let the drummer do all the hard work (a common trick): he stuck with the same blues scale, never missing a note, sweating his way through it and coming out victorious. At the end of the song, Reiners stole one out of the Bill Kirchen playbook, throwing in a couple of amusingly obvious Beatles hooks, and, finally and seemingly inevitably, Hendrix.

As good as the show was, you know something has gone wrong in this town when Rodeo Bar – strictly by default – becomes your best bet as a weekend destination. Sure, the music is reliably good, and so is the sound. And it’s free. But there are ominous signs: the bar has cut back on the free peanuts (although you can still find a basket if you look around) and their signature tekillya slurpies are significantly smaller than the tall glass you’d get for eight bucks until very recently. And forget about getting a seat: you still have to jockey for position with the sloppy drunk Baruch college kids who are oblivious to the music and make it pretty near impossible to hear unless you can negotiate a spot toward the front of the bar.

But…there’s not a trendoid in the house, and the tourist crowd generally hails from places like Georgia and Nebraska. And is very nice. As annoying as the Baruch kids can be, chances are they’re going to Baruch because they can’t afford to go elsewhere, so they don’t have the prissy sense of entitlement you find in Williamsburg or the East Village. Considering the alternatives, the Rodeo could become your local. And you could actually be happy there.