Sometimes you just have to sit back and admire the magical
artistry of the performers on stage. Whether in unison or exquisitely timed
solos, the talents of the three members of Hot Club of Cowtown radiated from
the stage at Bromsgrove’s Artrix Arts Theatre thrilling, exhilarating and
beguiling an audience in awe of such ability to interpret a timeless sound.
With two definitive styles to match their ideals and passion, the trio of Elana
James, Whit Smith and Jake Erwin expertly worked the original and interpretative
songbook of western swing and European gypsy jazz. While there may be
occasional blurs in the styles, Hot Club of Cowtown float effortlessly between
the dance halls of Austin and the smoky cafes of Paris.
Without dismissing the concept of the sum of the whole being
better than the parts, the lasting impression of a Hot Club gig is the
incredible musicianship frequently displayed on a solo platform. Jake Erwin
gave the most high-energised performance on upright bass seen for a long time,
played with impeccable timing and tuneful rigour. Elana James took the fiddle
to places rarely seen in a non-virtuoso setting and peaked with an
extraordinary pre-encore instrumental finale raising the stakes of the evening
to crescendo proportions. Whether Whit Smith was playing his trademark 1928
Gibson L-5 or not, the sound from his guitar of choice oozed with classic twang
and picking that probably tripled the old adage of ‘three chords’, whether in
rhythm or solo.
From a pair of sets just falling short of two hours in total,
the chat was minimal and the songs flowed freely to form a set list exceeding
thirty numbers spanning the continents. The first half probably had a more
western theme to it with the three standout tracks being ‘Big Balls in Cowtown’, ‘Oklahoma
Hills’ and ‘Deed I Do’, the
latter being reminded of a previous Jools Holland performance. ‘Slow Boat to China’ gave the audience a
hint of the European jazz sound the band explored on their most recent release
RENDEZVOUS IN RHYTHM. After the break ‘Avalon’,
‘I’m in the Mood For Love’ ,‘The Continental’ and a French tune
believed to be ‘Tchavolo Swing’ further
reflected this slight change in approach. A number to probably stand alone more
in the second half was a version of ‘Long
Way Home’ by Tom Waits which saw the band at their most laid back, albeit
for a brief moment.
The vocals are slightly tilted towards Elana who co-founded
the band with Whit in New York City back in the 1990’s. Whit also contributes
solo vocal pieces such as on ‘My Window
Faces South’ and is obviously an integral part of the three part harmonies
when Jake breaks off from his frantic bass slapping to participate. All three
brought the evening to an exciting close with a dual encore combination of the
fantastic and poignant ‘Reunion’
followed by the ever fetching ‘Get Along
Home Cindy’.
There may be solo projects by Elana and Whit in motion but
surely on the evidence of this evening’s performance the three piece band can continue
to entertain and excite audiences around the world. Whether satisfying their
own passion for the European jazz sound or flying the traditional flag for the
core country music sub-genre of western swing, Hot Club of Cowtown remain important,
influential and highly credible players on today’s music scene.
