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So, the booklet photo sez it all: seven white dorks playing some of the most classic, most revered jazz standards. That is not to say these boys can’t belt this stuff out; this release proves that they can. The simple liner comment from Jackson notes that when he was growing up this was backstreet, hidden, “forbidden” music, songs of ill repute, which makes it clear that this album is a deeply felt homage, his own British effort to bring them out, show them, and accrue the respect they are due. Yeah, I get all of that.
But it seems this music is attacked rather than interpreted. The opener, the one setting the tone and pace for the album is “Jumpin’ with Symphony Sid.” You’ve hear this one covered a dozen times or more, a more recent one from Van Morrison, but this cover is so sped up and so rushed that there’s not a lot of time for enjoyment—it’s hard enough just to keep up.
It keeps right up with “Jack, You’re Dead,” speedy and a little too hip. The uber-classic “Is You Is or Is You Ain’t My Baby?” is nice, but it seems a little under-produced, a little weak on the bottom end, especially the walking bass. The pace is back for “We the Cats (Shall Hep Ya)” and then things slow for the “St. James Infirmary”-like “San Francisco Fan.” This is a classic torch song, but Joe’s heartfelt singing just isn’t quite right for this piece.
“Five Guys Named Moe” is fun, almost a novelty number, very speedy, as are the following “Jumpin’ Jive” and “You Run Your Mouth (and I’ll Run My Business). Then there’s the blues tune “What’s the Use of Getting Sober,” which Joe is singing the hell out of, but his voice just isn’t quite right for this kind of son. Also, this one has a pseudo-novelty conversation embedded which easily could be mistaken as some seriously bad racial condescension.
Bringing it on home is another speedy one, “You’re My Meat” followed by the classic “Tuxedo Junction.” “Tuxedo” really should just swing, easily and simply, but this one is almost ponderous with its percussion, different sections that all don’t quite fit together smoothly. Last up is “How Long Must I Wait for You,” closing it out as we started, frenzied and loose, with an interesting little fade in the middle that really, really brings to mind the Star Wars cantina song.
Bottom Line: if you love these jazz/swing classics, then some additional covers might just work for you. To my listening this one is all about love and respect, JJ putting these down as they clearly have meaning to him.
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