The Dustbowl Revival
rides a third rail. The band is true to the original Jump Blues and
Swing groove, but the musicians also reserve the right to go off on any
musical tangent that they deem fun and workable.
Crimmins and The Hookers' well considered balance between
authenticity and originality has translated to capacity club audiences
and sweaty dance floors all over Atlanta (and every point on the compass
beyond) and they're always looking for fresh converts.
In the case of the effervescent seven-piece, The Duke
of Uke & His Novelty Orchestra, their inclusion of “bacon” as an
inspiration on their Facebook page — alongside the more conventional
choices of Motown, Funk, Ragtime, Jazz, Rock and “Popssical” — is
telling for multiple reasons.
Since his emergence from the San Francisco Jazz scene
nearly two decades ago, Charlie Hunter has defined his stylistic
direction by resolutely refusing to be tagged as any one thing,
preferring to embrace and explore whatever captures his imagination.
Pianist Alejandro Ziegler was only 12 years old when a
cerebral hemorrhage ended the brilliant career of fellow Argentine Astor
Piazzolla, the originator of Neuve Tango and one of the world’s most
revered musical giants.
In discussions about the world’s greatest guitarists, one
name often unconscionably overlooked is that of avant Jazz six-stringer
Bill Frisell. For the past three and a half decades, Frisell has
created textural environments that are visceral and pastoral, actively
engaging and passively contemplative, utilizing guitar skills that
border on genius.