Purist, Upbeat, Dynamically Retro Swing Songs From Gemma Sherry
Singer Gemma Sherry escaped her native Australia before the lockdown. Considering how the lockdowners have turned the country into the Southern Hemisphere’s North Korea, she was lucky to get out when she did. On her sarcastically titled album Let’s Get Serious – streaming at Bandcamp – she shows off a purist retro 50s sensibility and an often devious sense of humor. Musicians love to play on records like this because it gives them a chance to cut loose and have fun, and Sherry is contagious when it comes to that.
Sometimes that humor is pretty broad, sometimes it’s more subtle. With her irrepressibly chirpy, cheery delivery, Sherry plays up the hokum and innuendo in the album’s opening number, Blossom’s Blues. So do pianist Rick Germanson and guitarist Paul Bollenback, the latter doing a little B.B. King flutter before nailing one of the punchlines.
Sherry approaches Give Me the Simple Life with a more pillowy delivery as the band strut behind her, propelled by bassist Eric Wheeler and drummer George Coleman Jr. The addition of Joseph Doubleday’s vibraphone in the spare, boleroesque take of Too Much in Love to Care gives it an unexpected, understatedly lurid Blue Velvet lounge feel.
Likewise, the delicate take of Try Your Wings, beginning as a wistful guitar-and-vocal duet, is a heartfelt change of pace. Sherry also does much of The Alley Cat Song as a jaunty duet with Wheeler, She plays up more wistful self-effacement than snideness in the Blossom Dearie classic The Gentleman Is a Dope (for a badass version that’s 180 degrees the opposite, check out Joanna Berkebile’s new recording).
There’s striking modal sternness in Why Don’t You Do Right, fueled by Germanson’s resonant, incisive chords and Bollenback’s biting solo: this Great Depression-era hit has special resonance in a year where forty percent of New Yorkers can no longer pay rent. Sherry drifts back into slinky latin noir in Whatever Lola Wants, Germanson relishing the role of creepy lounge lizard. It’s the best song on the album.
The group give a chipper early 50s feel to Straighten Up and Fly Right, complete with drum breaks and spare vibes. It’s hard to disassociate Sherry’s remake of Go Away Little Girl from a certain version that plagues mallstore radio mixes. She winds up the album with a tiptoeing, lighthearted take of The Doodlin Song, which will definitely drive the party poopers out of the room.