MICHAEL GAMBLE — Michael Gamble and the Rhythm Serenaders (review)

MICHAEL GAMBLE — Michael Gamble and the Rhythm Serenaders album cover Album · 2016 · Swing Buy this album from MMA partners
4/5 ·
js
Mike Gamble and the Rhythm Serenaders is the name of an all-star group of swing enthusiasts, and its also the name of their new album. There was a time back in the 90s, when the so-called ‘swing revival’ was in full bloom and many an aging rock musician tried to cash in by putting together what they thought was a swing band. Many of those ill-informed artists were presenting re-tread rockabilly and garage band level jump blues as if it was actually ‘swing’. Fortunately, in the new century, the trend eased off and the wannabes moved on leaving the true swing lovers to enjoy their art without any further mis-guided dilution. Which brings us to the talented Rhythm Serenaders and their new album. There are no wannabes here, these are guys who know the music and play it well, no heavy handed or cheap reproductions are allowed. Their recording techniques are authentic as well, as every tune here was recorded live on the spot with no overdubs or studio trickery.

There is a nice selection of tunes on here, and a smart avoidance of the over-played and predictable. As can be expected, it’s the top writers of the day who supply the most sassy and infectious riffs. Some of the best include; Benny Goodman and Charlie Christian’s “Seven Come Eleven”, Goodman and Lionel Hampton’s, “Pick a Rib”, Count Basie’s “Sweet”, and the Ellington influenced slinky noir of Ben Webster’s “Woke Up Clipped”. A couple tunes feature the exuberant vocals of Russ Wilson, who battles it out with busy New Orleans/Dixieland type polyphony with all the horns soloing at once. On four other tracks you get the coy Billie Holiday influenced vocals of Laura Windley. Every tune on here is at least good, there are no duds. The solos on here are good as well, but as typical with ‘revival’ bands of any genre, the soloists seem to be a little more polite and careful in their execution, as opposed to the gut busting musicians from that era.

This is music for dancing and partying, but it works well for just listening too. In an interesting side note, each track comes with a bpm number, just like a modern dance record. So basically a DJ or mixing artist could use this CD of re-constituted older jazz music in a modern dance mix.
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