Intense, Eclectic Hot Club of Cowtown Fiddler Elana James Puts Out a Great New Album
Elana James is best known as the fiery fiddler in Austin western swing/Romany jazz trio the Hot Club of Cowtown, who’re coming to Subculture on March 7 at 8 PM: $20 advance tix are still available and highly recommended. In addition to James’ work with that band, she’s also put out a couple of albums as a solo bandleader, which she finds time to do when she’s not touring with her main band…or with Bob Dylan or Willie Nelson. Her latest release, Black Beauty, is just out and streaming at her webpage: it’s a smart, vivid combination of just about every one of the many styles she’s spun off her bow in the last couple of decades. And since her Hot Club bandmates, guitarist Whit Smith and bassist Jake Erwin, both play on the new record, there’s a good chance they’ll be airing out some of those songs on the current tour.
The opening number, Only You, is a backbeat-driven As Tears Go By soundalike, more Americana than Stones chamber pop. Although James gets all kinds of props for her work on the fingerboard, she’s also a fantastic singer, and she pulls out all the stops on the menacingly breathy noir cabaret number Who Loves You More, from its starkly orchestrated intro, to a spiraling Whit Smith solo. Then she completely switches gears with a lively, step-dancing take of the Ola Belle Reed bluegrass classic High Upon the Mountain – is that Dave Biller playing that tersely soulful dobro? Or maybe that’s Cindy Cashdollar – the download that came down the pipeline here didn’t say.
James brings back the haunting, gloomy intensity with the stark Azeri folk tune Ayniliq, then switches gears again with a poignant, calmly shuffling take of Woody Guthrie’s Hobo’s Lullaby. Reunion (Livin’ Your Dream) is a wryly allusive tale from the life of a touring musician, veering between wary Romany swing and blithe bluegrass.
Earl Poole Ball’s elegant slip-key piano flavors James’ misty version of the torch jazz standard All I Need Is You, slinking along with her bandmate Jake Erwin’s bass and Damien Llanes’ brushes on the drums. Then the band picks up the pace with Eva’s Dance, which is equal parts western swing and bluegrass, and the closest thing to the HCOC on the album.
James does the Grateful Dead classic Ripple as a straight-up oldschool C&W sway, lowlit by Biller’s steel guitar work. Her take of Dylan’s I’ll Be Your Baby Tonight is probably the best anybody’s ever done with that one, including the guy who wrote it, part irresistible torch song, part ragtime, part vintage country. The funniest number here is Telephone Man, a mashup of oldtimey swing, hokum blues and Salt ‘N Pepa.
The album’s most intense, powerful song is Hey Beautiful, Last Letter From Iraq, where James recounts the final words written by the late Army Staff Sergeant Juan Campos to his wife, setting them to to a stark country shuffle groove: “It’s like every time we go out, any little bump or sound freaks me out…I can’t wait to get out of this place,” the doomed soldier relates. James chooses to end the album with the pensive, bucolic Waltz of the Animals, no doubt inspired by her considerable experience as a horse wrangler. What else is there to say: one of the best albums of the year from somebody so talented that a lot of us take her for granted.