Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Pre-War Ponies Summon the Ghosts of Old New York

Last night at Rodeo Bar the Pre-War Ponies played an irresistible, unselfconsciously romantic mix of obscure swing tunes. Frontwoman Daria Grace leads this unit when she isn’t playing bass in her husband’s Jack’s excellent country band, or in recently semi-resurrected art-rockers Melomane, which doesn’t give her a lot of time – this crew basically plays the Rodeo and Barbes and that’s about it. But her Rodeo gig has been a monthly residency for awhile now, and it’s one of New York’s obscure treasures – just like her repertoire. The songs she likes best are clever, urbane, and catchy, ranging from quirky to downright bizarre. Her voice is stunning, pure and clear but also a little misty, the perfect vehicle for tales of heartbreak and longing and hope against hope that everything will work out in the end. This time out she was backed by a rhythm section along with J. Walter Hawkes doubling on trombone and ukelele, and Mike Neer on acoustic lead guitar.

The best song of the night was a blithe suicide song from 1928, Ready for the River, by Gus Kahn and Neil Moret. “Gonna leave just a bubble to indicate what used to be me,” Grace sang with a carefree nonchalance as the band bounced along behind her. “Gonna keep walking til my straw hat floats.” Her version of Two Sleepy People, a Frank Loesser/Hoagy Carmichael hit from 1938, perfectly captured the hazy endorphin bliss of a couple who’ve run out of things to say (or brainpower to say them with) but can’t tear themselves away from each other.

The band’s second set of the night was both fetching and fun. Grace came off the stage to redistribute the bar’s supply of peanuts since a friend of hers needed a refill. Then Hawkes noticed that someone had left a guitar pick in the nose of the bison head to the right of the stage. “Probably your husband,” he told Grace.

“Probably was,” she sighed. She looked at the pick. “Nope. Not his brand.” And then picked up her baritone uke and launched into a tribute to every ukelele song ever written. She brought a distantly smoky charm to Connee Boswell’s All I Can Do Is Dream of You, Irving Berlin’s 1925 hit Remember, and later an understatedly plaintive version of It’s the Talk of the Town. The bouncy, shuffling lament Say It Isn’t So was a launching pad for a rocket of a solo by Neer that leveled off the second time through the verse, followed by a droll muted trombone solo by Hawkes that managed to be completely period-perfect and over-the-top yet poignant all at the same time. The torchy Take My Heart got a buoyant solo from Hawkes followed by more edgy incisiveness from Neer. On the innuendo-driven I Want a Buddy, Not a Sweetheart, Neer punched through the best solo of the night, a rapidfire series of chords with an Asian tinge, as if he was playing a koto. They also did a slinky, gypsy jazz version of Cole Porter’s Primitive Man, from the 1929 film Fifteen Million Frenchmen.

The 1947 tune Brooklyn Love Song has “hey” at the end of pretty much every phrase. Grace lost the second page of her sheet music, so she had to come up with some new lyrics: “Everything happens for a reason. Hey!” Hawkes finally found the missing page; without missing a beat, they jumped back in and wound it up as jauntily as it began.

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November 23, 2010 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment