Saturday night at Barbes, resonator guitarist and Americana music maven Mamie Minch played just about every kind of blues except for the cheesy Eric Clapton kind. The co-proprietress of one of the world’s few woman-owned-and-operated instrument repair shops, Brooklyn Lutherie, embodies the fearlessness and charisma of her influences, notably Bessie Smith and Memphis Minnie. Minch played a couple of their songs, including an absolutely chilling new arrangement of Smith’s Sing Sing Blues, a bitter courtroom drama that resonates just as much today as it must have eighty years ago. Running a line into the PA from her 1937 National steel guitar for otherworldly resonance and extra overtones, she was joined on drums by Kill Henry Sugar’s Dean Sharenow. The two bantered back and forth, an endless exchange of one-liners that was just about as entertaining as the music: they make a good team. And that extended to the music as well, as the two intertwined harmonies on several numbers.
And while most of the Jalopy-centric acoustic roots scene play covers and traditional material, Minch also writes her own songs, matching oldtime vernacular and lyrical wit to melodies that push beyond the blues scale into edgy acoustic rock territory. She romped restlessly through Razorburn Blues (the title track to her most recent album), a rapidfire litany of ridiculous things women have to endure. A little later she joined voices with Sharenow for a pillowy version of Border Radio, her Carter Family tribute which she had the good fortune to record on wax cylinder a couple of years ago. And she encored with Al Duvall‘s gut-bustingly funny, pun-fueled Kentucky Mermaid, a tale of a woman who has to be especially careful: since she’s a fishwife, she might get battered.
The covers were just as diverse, and gave Minch a chance to get frisky with her fingers through styles from the Mississippi hills, to the delta, to Memphis and points further north. She took her time through the creepy chromatics of Memphis Slim’s ghoulish Back to Mother Earth, then threw off plenty of sparks with a take of R.L. Burnside’s Old Black Mattie. And she took the Stones’ Prodigal Son back to its roots as an anxious number originally penned by Rev. Robert Watkins many years before the Glimmer Twins appropriated it. Between songs, she hummed as she retuned: who needs a digital tuner when all you have to do is sing the pitch?
Minch plays Jan 4 at City Winery at 8 PM on a guitar-rich twinbill with ex-Dylan lead player and fellow Americana purist Larry Campbell, who’s doing a duo show with singer/guitarist Teresa Williams afterward at around 9. General admission is $20 for standing room, more if you want a table