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Hot Club of Cowtown
Jazz
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Hot Club of Cowtown’s new Lloyd Maines-produced release, Rendezvous in Rhythm, out May 28, 2013 on Gold Strike Records, is an exuberant collection of Gypsy songs and American Songbook standards played acoustically and recorded in the hot jazz style of legendary violin and guitar masters Stephane Grappelli and Django Reinhardt. Recorded last July at the Zone Recording Studio in Dripping Springs, Texas, it’s the Hot Club’s first-ever dedicated foray into the Gypsy jazz and French swing of Paris in the ’30s and features the band’s sparkling spins on standards in the style of Reinhardt and Grappelli including “Crazy Rhythm,” “Minor Swing,” “Dark Eyes,” “The Continental,” “I’m in the Mood for Love,” “Douce Ambiance,” and many more.
You’d think a band from Austin, Texas with the word “Cowtown” in its name spends its time off from touring herding cattle at a West Texas ranch or maybe in Nashville writing songs about whiskey and loose women. Not the Hot Club of Cowtown. “We recently took a band vacation to the Gypsy Festival at St. Maries de la Mer in the South of France,” says the band’s fiddler and vocalist, Elana James. Whit Smith, Hot Club’s guitar player and vocalist, is a regular at the prestigious Djangofest Northwest in Whidbey, Island, Washington, and bass player Jake Erwin has the Hungarian folk band Csokolom in regular rotation on his home stereo.
“Our band is fiddle, guitar, and bass, and they can do anything together. We’ve always played a combination of hot jazz and Western swing, but it’s been really a joy to finally distill part of our essence and serve up a record that is purely jazzy,” says James, who in fact was once a horse wrangler in Colorado, as well as a former student of classical music at the American Conservatory in Fontainebleau, France. Says Smith, “Once Elana became aware that in jazz music and swing, you could express yourself more in improvisation, I think that attracted her to it. She still likes classical, and I do too.” Smith grew up hearing his parents play lots of folk music, especially acoustic blues, but as a teenager he naturally rebelled and turned sharply toward hard rock, which still informs his approach to hot jazz and Western swing. The impression that the band is in some way a country act, especially in the current climate of American popular music, is somewhat misleading since the Hot Club’s influences have always been as much the musette music of the smoky bistros of 1930s Paris as they are the hoedowns and Western swing of the mythic American West. |
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