Customer Reviews

Elana James

5 star:		(9)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Playing Time - 40:24 -- Elana Fremerman is originally from Kansas. In search of her muse, she's now living in Austin and is known as Elana James. Beaming with irresistible, savory music, Elana's debut comfortably presents original songs alongside classic jazz and western swing standards. All have straightforward stories and simple declarations. The ten-year member of the Hot Club of Cowtown was invited to join Bob Dylan's group shortly after the former disbanded. She covers Dylan's hit that was originally released in the 60s, "One More Night," and she's clearly ready for the light to shine on her. Building off her previous body of recorded work, Elana's music radiates with plenty of seductive charm, confidence and composure. It's nice to see the skillful musician making the big leap to being a full-fledged soloist in the spotlight. It's obviously a kind of liberating experience for her. Six of the CD's cuts are her own self-penned original songs demonstrating her proficiency as both musician and lyricist. Her challenge is to make the set sound both new and old alike, and Elana has that special knack that will surely bring much continued success. One of the youngest inductees into the Texas Western Swing Hall of Fame, Elana is happening probably because she sings and plays with so much fervor and infatuation. She's got it bad, and luckily for us that's good!

Whether bowing her "Eva's Waltz" or vocalizing Eubie Blake's big 1940s hit "Memories of You," she connects the dots from past to present. She's blessed with a Midas touch on her violin that moves effortlessly from note to note throughout the album. Actually, she prefers to be known as a "fiddilist." With a standard like "Silver Bells," she and Johnny Gimble do some expressive twin fiddling in harmony before embarking on some brief but fiery improvisations. Recording with James on his 80th birthday, Gimble also plays his electric mandolin on "Goodbye Liza Jane." Besides Gimble, other instrumental support on the album comes from Beau Sample (bass), Dave Biller (guitar), Luke Hill (guitar), Joe Kerr (piano), Bruce Brackman (clarinet), and Mark Hallman (brushes). Sample also contributes some harmony vocals.

James' voice is lovely, limpid and even somewhat exotic on her leisurely rendition of Duke Ellington's "I Got It Bad (And That Ain't Good)" and "I Don't Mind." The latter is a very pleasant song that we just don't often hear covered as frequently as Duke's bigger hits. While some may perceive her lyrics as a tad novice ("Run Away With Me") when laid out alongside words from the likes of famous lyricists, I feel that Elana holds her own with some splendid musical vignettesŠ."oh baby, take me by the hand, help me understand." She writes with more traditional sensibility than with some contrived or modernistic approach that attempts to push boundaries of the genre she's playing. "Twenty-Four Hours A Day" opens the project with a jumpin' groove, and her own harmonies on "All The World And I" are more winsome, old-time and folky. The latter song was inspired from a biography about A. P. Carter as she sings "when all the flowers grow up, it's you they want to be." What a feather in her cap that her own plain but thoughtful messages can stand up side-by-side to those of Bob Dylan (One More Night), Billy Strayhorn (I Don't Mind), Andy Razaf (Memories of You), Paul Webster (I Got It Bad), and Carson Robison (The Little Green Valley). You may recall that the last song was a hit for Marty Robbins, and Elana does seems to have an affinity for elements of nature as she observes "I hear a mockingbird down in the little green valley / he's singing out a song of welcome just for me." Elana is very comfy singing about babbling brooks and shady nooks, or searching (in "I Got It Bad") for sweet, gentle love as she feels "like a lonesome weeping willow lost in the wood."

Elana James' debut album is enchanting and mesmerizing. It shows that she's both accomplished and witty -- a proficient swinging and jazzy raconteur if you will. Be sure to catch her own trio (with Sample and Hill) when they come to town. This album reinforces her belief that the key to success is just a matter of getting out there and doing it. (Joe Ross, Roseburg, OR.)

It was my first visit to Gruene Hall, south of Austin, on a Saturday afternoon in Dec. '06, and I was amazed to find that Elana and her band was playing there for tips. What a day! On the break, I bought my CD from her. I admit, on the CD, I thought her fiddling comes across a bit better than her vocals on the CD. On the other hand, when she was live, I really enjoyed her voice more than the fiddle--go figure. Regardless, I enjoy the total package!

At any rate, I'll buy her next CDs as fast as they come out. I'm also planning on catching her live in the future.

After listening to fiddle music most of my life, I know good fiddle. She's got good fiddle! I'm guessing Johnny Gimble enjoyed playing with her as much as she was honored playing with him. They both are in my top five fiddlers. Great First CD after HCC!

Fiddle virtuoso Elana James (nee Fremerman) steps out front following the dissolution of her gypsy-jazz-meets-western-swing band, Hot Club of Cowtown. In addition to handling the lead vocals, James wrote nearly half the tunes and carefully selected the rest from the catalogs of Bob Dylan (with whom she recently toured), Duke Ellington and Eubie Blake. Her voice is not quite the seasoned instrument of her violin, but its qualities - at times thin and whispery -- are compelling. Upbeat tunes like "Oh, Baby" sport the jazzy sass of Annie Ross, and the multitracked vocal of "Goodbye Liza Jane" echo The Andrews Sisters.

James' fiddle is supported by the propulsive bass playing of Beau Sample, the superb guitar of Dave Biller and Joe Kerr's smooth, late-night piano. James duets with the legendary Johnny Gimble on a mid-tempo arrangement of "Silver Bells" and shows off the fluidity of her playing on the original "Eva's Waltz." Her songwriting and singing confidently bridge her jazz and country influences, slowing for the Appalachian-stained harmonies of "All the World and I" and realizing Ellington's "I Got it Bad (And That Ain't Good)" as a thoughtful daydream.

This is a delightful release whose charms bow to swing ancestors without devolving into costumed revivalism. As a leader, James is g as a western swinger, but surprising on the jazzier ballads; she's always been spunky, but her slinky takes as a chanteuse are exhilarating. [©2007 hyperbolium dot com]

This is a really fun, lively solo debut for Elana James, a talented Texas fiddler formerly with the now-defunct Hot Club Of Cowtown... She mixes western swing with elegant, Ellingtonian jazz and a bit of gypsy swing... All of it sounds great, and she sounds completely focussed and joyful. Definitely recommended! (DJ Joe Sixpack)

Wow, was I in for a pleasant surprise when I happened on to Elana James. I took a chance on this album only because of a Austin connection. Having spent a little time in that storied town, I felt that criteria was enough to spend the thirteen or so dollars on this new (to me) talent. She had me from the second cut on. Her rendition of "One More Night" made me forget Bob Dylan for two minutes and thirty-five seconds that Elan wove her magic on his standard. If you are looking for an exciting new talent - that does not follow the same worn-out patterns that we are bombarded with on most new c.d.'s. Now, the exciting part, this woman can fiddle and I mean fiddle! I have played this album about six times so far and find myself more engaged with the music on every succeeding playing.
The mixing by Mark Hallman gives a very forward presence to the music. His style of mixing is a very comfortable fit with this group of musicians, as it is composed mostly of strings with a nice mix of Joe Kerr's Piano and Bruce Blackman's Clarinet. You will have to wait until the last cut to hear a wonderful interpretation of Duke Ellington and Billy Strayhorn's "I Don't Mind," a tune worth waiting for. The nice thing here is that you are not wasting your time playing all of the twelve previous songs, for when you arrive at the end of number thirteen - more than likely you will start number one all over again!

Even if you only buy this album for one track the purchase price is more than worth it.
Elana James has a brilliant singing range and is a performer of immense talent.
What more is there to say other than this album is a hugely enjoyable experience.
Sit back and experience a truly fabulous singer.

I first heard tracks from this CD played on Manx Radio and was captivated by the violin solos. As a classical violinist I don't usually listen to this sort of music but I'm glad I heard it. Having listened to all of it I am still impressed by her great technique. A good selection of styles for her first CD, all thoroughly enjoyable. She has a distinct style and voice. Great! sue

I came across this CD via a music review which also mentioned Dylan, so I read further. The music seemed to be what we were listening to at the time, so we went out and bought it unheard. I had a good feeling about it though. The sort you have when you know something is going to turn out well. I wasn't disappointed, although I was surprised that the sound was not quite what I expected.
After initial playing I put it in the multiplayer along with "O Brother Where Art Thou", "Anchored in Love - J.Carter Cash Tribute" and Willie Nelson - put it on random and let it play. It was great.

1. 24 Hours a Day jumps along nicely;
2. One More Night was soft country;
3. Oh Baby was jump blues;
4. Goodbye Liza Jane - oh how I love her;
5. All The World & I had a surprise Celtic feel to it. Reminded me a little of Capercaille;
6. Run Away With Me was happy feelgood;
7. Eva's Waltz was a slow waltz;
8. Down the Line - country violin galloping along;
9. Duke Ellington's I Got It Bad is soft and easy;
10. Silver Bells is dance hall violin;
11. The Little Green Valley - well where is Doris Day? Happy enough, but..
12. Memories Of You had a soft country jazz feel;
13. I Don't Mind - it's late in the evening and you're having that final slow dance with someone special.

I wasn't expecting the bluegrass style violin [Ralph Stanley eat your heart out] but the mix of songs and styles makes this one of the best easy listening fun CDs I've bought for a long while.

Half the songs were written by Elana James. I hope she does well with this CD as she deserves it based on this hearing.

I've seen Elana James twice at the Continental Club in Austin, TX, and her performances were incredible! On one of her posters it says she plays, "hot Texas fiddle music for the 21st century", and how true that is!

At the Continental Club, she plays with an upright bass player, a drummer, and a fellow who plays electric guitar, and Elana plays (electric) violin. She's a powerful violin player and she has a nice, sultry voice. I didn't think there's anything negative about her voice at all in the live performances, so I'm not sure what Ann Joyce means when she says that James "is just not a strong enough vocalist to sing lead". Her voice was plenty strong at the Continental Club, and I think she has a great voice.

Her live music is a mix of genres, but all tuned towards a Texas swing style. If you've ever heard "Asleep at the Wheel" playing Bob Wills' covers, Elana James is reminiscent of them as she, too, plays some Bob Wills' covers. The difference is while Ray Benson is "Asleep at the Wheel" (and, BTW, I think "Asleep at the Wheel" is a great band), Elana James, by contrast, is alive and kicking at the wheel - in fact, she can be highly-caffeinated at the wheel! She plays some slow pieces, and she plays quite a few faster pieces at the Continental Club, and her fast pieces can really kick a**. When she plays "Orange Blossom Special", she plays it way FAST - faster than I have ever heard before and faster than I thought possible - without losing the musicality of the tune! She is a high-energy performance with a great stage presence, a good voice for her style of music, and plays great music!

I got a chance to talk to her at the Continental Club last night for a minute and told her that I'd be back to every performance at the Continental Club and when she eventually stopped playing there, I'd just have to track her down so I could listen to her music again! I liked her music so much I bought two of her CDs - the one being reviewed here, and "Continental Stomp".

This new recording is absolutely fabulous, so much that I am going to seek out her previous recordings. A very musical blend of swing, jazz, country and folk, she crosses genres with ease and makes it seem so effortless.