Sweet Mama, Sweet Daddy, Come In is jazz of a populist kind, blending all sorts of Americana influences into a sweet, funky stew. The Bumper Jacksons at their core are two vibrant, multi-talented musicians from different backgrounds. Jess Eliot Myhre honed her chops in the street musical scene of New Orleans; she contributes clarinet, washboard and lead vocals. She met Chris Ousley in New Orleans, though he came from Maryland’s bluegrass scene; he plays banjo and sings lead vocals. Jess brings that wild, free Crescent City jazz spirit and unique vocal stylings to the show, and Chris a grounding in Appalachian stringband and other Americana styles.
They’re backed by percussionist Dan Cohan, who plays a suitcase outfitted with cymbals and all kinds of noise-makers; Dave Hadley on pedal steel guitar, who adds atmospheric touches and licks that echo, by turns, Western swing, honky-tonk and modern alt-country; Brian Priebe on trombone and Alex Lacquement on bass. All in all, it’s a tight ensemble with a lot of swing and a little bit of rock and roll. I especially appreciate the way they approach this music through a process that blends both jazz and folk. They’re not some group of bearded Mumford clones who think they’re clever if they add folk touches to a rock song or rock touches to a folk song. Check out their hot, swinging take on the traditional “Darlin’ Corey”:
The album includes originals like the opener “Tippy Toe Sam” and the swaying “St. Claude’s Waltz”; some straight jazz like the Ella Fitzgerald number “When I Get Low I Get High” and Sidney Bechet’s “Si Tu Vois Ma Mere” (which you may remember from Woody Allen’s 2011 film *Midnight In Paris*); the Texas Playboys’ swinger “Miss Molly”; jugband song “That’s My Gal”; deep blues like “Darkness On The Delta”; and trad jazz like “When The Sun Goes Down In Harlem” (whose lyrics contribute the album’s title) and “Ragtime Millionaire.” Plus an arrangement of Tom Waits’s “Clap Hands” that places it squarely within this roots-jazz tradition. I especially love the sweet, romantic arrangement of the Bechet instrumental piece. Myhre carries the melody most of the time, but Lacquement plays call-and-response lines on the bass, and Hadley and Priebe add beautiful color touches on pedal steel and trombone.
Jess Eliot Myhre is clearly the beating heart of the Bumper Jacksons. Her vocals are original, quirky and energetic, and her clarinet incorporates all kinds of traditions from ragtime to blues to klezmer. Put her together with this hot outfit, and you’ve got a great musical party. Check out their tour schedule and stream tracks at their website, and you can purchase this disc at CDBaby and other outlets.
Self-released, 2014
