This is genuine boogie-woogie. Never mind that almost all of it was written or co-written by contemporary pianist Otmar Binder and that neither a scratch nor a sniff of Boogie Woogie Turnaround dates back to the turn of an earlier century but is instead 100% recent. You'd hardly guess the date by the crushed velvet, gin, bayou airs, and whiskey speakeasy atmospheres everywhere in this disc. B.J. Cole sits in on a couple of cuts with his pedal steel (and, frankly, we don't get enough of his work even in the rock world, or Skaila Kanga's, or Ann Odell's, or…), injecting a bit of Tejas bottom lands. Credit is given to a trio but that's a trifle deceptive, as solos, duets, trios, quartets, and any number of personnel waft in and out of the lively affair.
Boogie's the keynote, of course, but you also get stride, stomp, barrel house, and other influences, as those modes dovetail ever so nicely. Some cuts get folky-bluesy, balladic, reflective, even downright citified (All the Way), but the base is most often the insistent beat and recurring chords that so characterize the mode—if you think about it, a Johnny Walker Red kind of American drone music with lotsa variations. That's why hooch-heads, brawlers, wharf rats, stumblebums, fallen bourgeoisie, and, hey!, even people like you and me dig it: it's tarnished religion from the back of the pews where the Saturday night revelers go to sleep things off. Forget all the attempts at gentrification elswhere (esp. the movies), this is people-music and sings best when left to its own devices, as here. If you feel like testifying, go right ahead, I'll just watch from the vestibule…where the preacher keeps the communion wine hidden.
Edited by: David N. Pyles
Copyright 2012, Peterborough Folk Music Society.
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