New York Music Daily

Global Music With a New York Edge

Tag: comedy

A Slyly Cinematic Instrumental Album and a Rockwood Residency From Henry Hey

Multi-instrumentalist Henry Hey may be best know these days for his David Bowie collaborations,  notably as musical director for the stage productions of Lazarus, but he somehow finds the time to lead his own band. The latest album, simply titled Four, by his Forq quartet with guitarist Chris McQueen, bassist Kevin Scott and drummer Jason Thomas is streaming at Bandcamp. It’s their most colorful and cinematic release yet. Hey has a weekly 9 PM Monday night residency this month, with special guests at each show, at the small room at the Rockwood, where he’ll be next on Nov 11 and you can expect to hear at least some of this live.

The album’s first track is Mr. Bort. a ridiculously woozy Bernie Worrell/P-Funk style strut employing a slew of cheesy late 70s/early 80s keyboard patches – it sounds like a parody. The second track, Grifter is an epic  – it shifts from a techy update on early 60s samba-surf, to slit-eyed Hollywood hills boudoir soul, Tredici Bacci retro Italian cinematics and finally a noir conversation between twelve-string guitar and synth.

M-Theory is sternly swooshy outer space drama in an early 80s ELO vein, followed by Duck People, a return to wry portamento stoner funk with a jovially machinegunning faux-harpsichord solo out. Lullabye, the album’s most expansive track, has loopy faux-soukous followed by Hey playing postbop synth over a long drum crescendo, then a startrooper theme and a bit of second-line New Orleans.

Likewise, Tiny Soul morphs into and out of hard funk from a chipper, Jim Duffy-style psychedelic pop stroll. The band go back to brightly circling, buoyantly orchestrated Afro-pop with Rally, then bring back the wah funk with EAV.

After a brief, warpy reprise from Lullabye, the band channel Rick James with the catchy Times Like These. The last track is Whelmed, a funny riff-rock spoof: imagine what Avi Fox-Rosen would have done with it if he was a weedhead. Somewhere there is a hip-hop group, a video game franchise, an action flick or stoner buddy comedy that could use pretty much everything on this record.

Fun (or not so fun) fact: Hey takes the B.B. King memorial ironman award here for most macho performance while injured. Two sets of jazz at the piano with a broken thumb, lots of solos and not a single grimace. Can’t tell you where or with who because the injury could have been costlhy if anybody had known at the time.

A Profoundly Entertaining, Interactive Night of Operatic Fun at the Edge of Chinatown

At his sold-out show last night to close a weekend of performances at the Abrons Arts Center, countertenor Ju-eh hit high notes that were as disconcerting as they were spectacular. It was a profound and often profoundly funny display of awe-inspiring technique matched with witty banter and deep insight into the relationship between audience and performer. In an era where more and more, the act onstage becomes a mere backdrop for social media posturing by wannabes in the crowd, Ju-eh’s generous interaction with the audience had unusual resonance.

He made his entrance from the side of the stage with a soaring aria by Handel over a solo organ recording. Seated centerstage, his verbal sparring partner Hwarg worked a series of mixers and laptop. Although Ju-eh was wearing a skirt, he revealed in a lengthy Q&A after the show that he didn’t choose that to be genderqueer: rather, it was a historical reference to an era when pretty much everyone wore the same robe, or the same daishiki. The rest of the outfit – plain white shirt and blue thermal socks, his hair knotted with a stick – mirrored his background as a Chinese-born New York avant garde artist who’s built a career singing western opera.

He and his collaborator call this piece Living Dying Opera: he lives to sing it, but it’s also killing him sometimes. Self-doubt quickly became a persistent theme, most poignantly portrayed via a plaintive John Dowland version of an old English air. Ju-eh’s voice reached for the rafters with an imploring wail as he crouched in the corner in the darkness, holding a simple lamp, Diogenes-style. On one hand, it’s reassuring to know that someone with such prodigious talent can also be self-critical; on the other, if this guy isn’t satisfied with his achievements, how about us mere mortals?

After the show, he explained that he always wants audiences at his performances to feel loved. That assessment in many respects makes a lot of sense, in that a lot of people go to a performance to transcend, to see themselves in the music or the narrative and come out on the other side to a better place. What he didn’t address is that audiences all too often have other, similarly self-involved reasons for going out. Whether watching something on Facebook Live and texting all your ‘friends” about it confers the same status as taking a selfie at the actual show, with the performer somewhere in the background, is open to debate.

But even with all that talent and that resume, Ju-eh remains a fish out of water, even in the rarefied world of countertenors. He explained that most operatic roles written for men singing in a soprano’s range are antagonists: they’re supposed to sound evil. Ju-eh’s voice, and his style, don’t fit that mold: they’re especially robust, an endless, thick rope ladder reaching into the clouds, with a muscular vibrato to match. Although he’s working in a range usually limited to women, he doesn’t hear his own voice as female, and he shouldn’t: it’s uniquely his.

There were a lot of very amusing, sometimes coy, sometimes disarmingly down-to-earth extemporaneous moments where he and Hwarg discussed how well, or not so well, the show was progressing. There were also points where he took crowd members and put them centerstage, then continued singing from their seats. The most haunting of those moments was when he delivered a stark, aching verse and chorus of Sometimes I Feel Like a Motherless Child from the front row.

The after-show Q&A kept the audience as engaged as the performance itself did. The funniest revelation was that Ju-eh had come up with a brief interlude where he lay on the floor in order to give himself a breather rather than to add any kind of meaning. The man he’d pulled from the crowd to stand onstage – as “Mr. Mango” – confided that he’d encouraged Ju-eh to pick him because he wanted to find out if the other audience members had also been chosen randomly, or if they were shills. Over and over again, Ju-eh’s most existential questions of identity resonated more profoundly than anything else in this provocative encounter sponsored by the New York Chinese Culture Salon.

Moppa Elliott Brings His Twisted, Hilarious Parodies to Gowanus

Is Moppa Elliott this era’s Frank Zappa? Elliott is funnier, and his jokes are musical rather than lyrical, but there are similarities. Each began his career playing parodies – Zappa with the Mothers of Invention and Elliott with Mostly Other People Do the Killing. Their bodies of work are distinguished by an equally broad and spot-on sense of humor, with a cruel streak. With Mostly Other People Do the Killing – the world’s funniest jazz group – seemingly in mothballs at the moment, Elliott has gone out and made a lavish triple album with three separate, closely related ensembles. The world’s funniest jazz bassist is playing a tripleheader, with sets by each of them tomorrow, Feb 15 at Shapeshifter Lab starting at 7 PM with the jazz octet Advancing on a Wild Pitch, following at 8 with quasi-soul band Acceleration Due to Gravity and then at 9 with instrumental 80s rock act Unspeakable Garbage. Cover is $10.

Where MOPDtK savaged Ornette Coleman imitators, fusion jazz and hot 20s swing, among many other styles, the new record Jazz Band/Rock Band/Dance Band gives the bozack to New Orleans shuffles, Kansas City swing and retro 60s soul music, and attempts to do the same to 80s rock. It hasn’t hit the usual streaming spots yet, although there are three tracks up at Soundcloud. Throughout the record, Elliott is more chill than ever, letting his twisted compositions speak for themselves.

It’s redemptive to hear how deliciously Elliott and the “dance band” mock the hordes of white kids aping 60s funk and soul music. This sounds like the Dap-Kings on a cruel overdose of liquid acid, trying desperately to hold it together. Without giving away all the jokes, let’s say that drummer Mike Pride’s rhythm is a persistent punchline. And yet, as relentless as the satire here is, there are genuinely – dare we say – beautiful moments here, notably guitarist Ava Mendoza’s savage roar and tuneful erudition: she really knows her source material.

The horns – trumpeter Nate Wooley, trombonist Dave Taylor, saxophonists Matt Nelson and Bryan Murray – squall when they’re not getting completely self-indulgent, Mendoza serving as good cop. Guitarist Kyle Saulnier and pianist George Burton fall somewhere in the middle along with Elliott. As an imitation of an imitation, several generations removed from James Brown, Isaac Hayes and Louis Jordan, this is hilarious stuff. The arguably most vicious payoff of all is when they swing that unctuous King Crimson tune by the tail until it breaks: it’s about time somebody did that.

Advancing on a Wild Pitch – with trombonist Sam Kulik, baritone saxophonist Charles Evans, pianist Danny Fox and drummer Christian Coleman – is the jazz group here, akin to a less ridiculous MOPDtK. As with that band, quotes and rhythmic japes factor heavily into the sarcasm, but you have to listen more closely than Elliott’s music usually demands to pick up on the snarky pokes. This is also his chance to remind the world that if he really wanted to write slightly above-average, derivative postbop jazz without much in the way of humor to score a record deal, he could do it in his sleep. But this is so much more fun!

Again, without giving away any punchlines, the length of the pieces and also the solos weighs in heavily. Oh baby, do they ever. They savage second-line shuffles, the Basie band, early Ellington, 30s swing and doofy gospel-inspired balladry, among other things. If you really want a laugh and can only listen to one tune here, try St. Marys: the most irresistible bit is about midway through. Even so, there are long, unselfconsciously engaging solos by Fox and Kulik in the two final numbers, Ship and Slab, which don’t seem like parodies at all. If Elliott has a dozen more of these kicking around, he could blend right in at Jazz at Lincoln Center – and maybe sneak in some of the really fun stuff too.

Unspeakable Garbage’s honking instrumental approach to cheesy 80s radio rock is too close to its endless litany of sources to really count as parody. With blaring guitar, a leaden beat and trebly synth, they devise mashups from a list including but not limited to Huey Lewis, Van Halen, Pat Benatar and Grover Washington Jr. This predictable shtick gets old fast: Spinal Tap it’s not. You’d do better with Murray and his band Bryan & the Haggards, who have put out three surprisingly amusing albums of instrumental Merle Haggard covers.

Tredici Bacci Bring Their Sick Sense of Humor to the Mercury

The album cover painting for cinematic, lushly orchestrated psychedelic band Tredici Bacci’s new album La Fine del Futuro – streaming at Bandcamp – shows a knife stuck in the back of a beach chair, blood dripping from the blade. How much of that is outright menace and how much is the band’s signature, cosmopolitan snark? This time out, the jokes and the satire in bandleader/bassist Simon Hanes’ themes are much more front and center. You can decide out for yourself at the album release show at 11 PM on Valentine’s Day at the Mercury; cover is $12. Since the band name is Italian for “thirteen kisses,”  they get a pass for booking a show on one of the three nights when everybody should stay home (St. Paddy’s and New Years Eve are the others).

In the time-honored tradition of Booker T & the MG’s and the Ventures, there were two versions of this band in their earliest days: in their case, one in Boston and one in New York. That might explain why their Bandcamp page doesn’t have musician credits. The baritone sax solo in the new album’s first number, Titoli de Testa, sounds like a series of split-second attempts to cover mistakes. However, versatile singer Sami Stevens’ deadpan arioso vocals seem committed to the bouncy, blithe, bossa-tinged theme. It brings to mind Banda Magda before they got serious and political.

In the 1970s is a bizarre mashup of Italian film score and fluffy American disco, Stevens enumerating how many reasons things were better forty-plus ago. As anybody who was there will tell you, they weren’t – it’s just that contested elections were swung by phony ballots instead of Russian hackers, and in lieu of mining data, employers and banks simply wouldn’t hire or lend to people from certain neighborhoods.

Minimalissimo pokes fun at both 70s motorik instrumentals and peevishly repetitive 20th century composers – and the 21st century ones who still don’t know better. Barbarians is a mashup of the album’s first and third tracks: repetitive hooks, operatic vocals and a tongue-in-cheek heroic fanfare at the center. Complete with peppy brass, Stevens’ high-voltage vocalese and a probably intentionally wretched attempt at singing by one of the guys in the band, Emmanuelle could be the great, twisted lost spaghetti western psychedelic pop tune from Manfred Hubler’s Vampyros Lesbos soundtrack.

Felicity Grows could be Weird Al Yankovic making fun of Burt Bacharach, with a woman out front. Promises, Promises is much the same: it’s so spot-on it could be a Dionne Warwick b-side from when she spelled her last name with an E. As a parody of 70s easy-listening pop, The Cavalry is even more blithely savage: Ward White at his most sardonic comes to mind.

Awash in elegant strings and woodwinds, the moody Impressions shifts in and out of waltz time: it’s the only track on the album that doesn’t sound like a joke, at least until the bizarre mashup of tropicalia and horror film score kicks in. Ambulette is a series of variations on a simple, ridiculously obvious theme – it’s not a real ambulance, get it? To close the album, the band make disco out of a phony patriotic tune they call The Liberty Belle. How apropos for 2019, right? If this isn’t the best album of the year, it’s definitely the funniest so far.

A Musical Tribute to America’s Best-Loved Supreme Court Justice

Ruth Bader Ginsburg, a.k.a. The Notorious RBG is not the first woman to serve on the US Supreme Court, but her contributions to American jurisprudence arguably surpass those of any other female member and most of its men as well. With that in mind, let’s wish an equally long and influential career to Sonia Sotomayor – she and Ginsburg are needed there more than ever. Beyond RBG’s acerbity and ever-increasing value as a rare voice of reason, she’s beloved for her sense of humor. And like many jurists, she’s not averse to the spotlight, whether on or off the bench. For example, she’s performed in an opera, which makes more sense considering that her daughter-in-law is soprano Patrice Michaels.

While best known as an opera singer, Michaels is also a composer. Her suite The Long View:  A Portrait of Ruth Bader Ginsburg in Nine Songs is the centerpiece of the album Notorious RBG in Song, streaming at Spotify. Backed by eclectic pianist Kuang-Hao Huang, Michaels traces the career of her mother-in-law through music as diverse as the cases RBG has had to hear. All the songs here are distinctly 21st century: the cellular phrasing of Philip Glass seem an obvious influence, along with jazz and the early, quasi-neoromantic Schoenberg. Michaels’ tendency here to shift between a bel canto delivery and sprechstimme also brings to mind Schoenberg’s art-songs as well as the operas of Missy Mazzoli.

Michaels’ song cycle begins with the brief, incisively insistent foreshadowing of Foresight, based on a 1943 letter from Justice William O. Douglas contemplating when the time might come to allow women to serve as clerks on the court – talk about low aspirations! Celia: An Imagined Letter from 1949, an uneasily circling, spacious ballad, offers insight into how Ginsburg’s mom encouraged her aspirations while holding fast to tradition.

RBG’s father-in-law, Morris Ginsburg, gets a shout in Advice from Morris, balancing the neoromantic with hints of boogie-woogie. Michaels gives voice to RGB’s late husband, Martin D. Ginsburg in the wry lawyers-in-love anecdote On Working Together. Anita’s Story, an 80th birthday present for RBG is a much funnier narrative, colorfully illustrating a political awakening the jurist jumpstarted in one of her clerks.

The brief, Debussy-esque New York, 1961 offers insight into her daughter’s early years as a latchkey kid. The Elevator Thief is a more lighthearted, vividly imagistic picture of innocuous mischief from an era when kids had to come up with ways to entertain themselves instead of relying on their phones.

Dissenter of de Universe: Five Opinions and a Comment is a pastiche of quotable RGB statements on affirmative action, women’s and voting rights (the infamous Shelby v. Holder case), and a mouthful for Michaels to sing, but she’s game all the way through. In the suite’s scampering coda The Long View, Questions Answered, Michaels channels RBG’s tirelessness (more or less, anyway), irrepressible wit and gravitas: it’s the album’s most dramatic moment.

The album contains four more songs. Lori Laitman’s miniature Wider than the Sky is a gently pastoral setting of an Emily Dickinson poem. Vivian Fung’s Pot Roast à La RBG captures a sardonic, unexpectedly acidic kitchen scenario. Stacy Garrop’s poignant aria My Dearest Ruth employs one of RBG’s husband’s final love letters. The final track is Derrick Wang’s You Are Searching in Vain for a Bright-Line Solution, from his comic opera Scalia/Ginsburg. Like the other songs here, it’s a challenge to make music out of prose that, while entertaining. was hardly written to be sung. That’s where the comedy comes in; one suspects that the Notorious RBG would approve.

Sam Broverman Skewers Holiday Overkill

Sam Broverman is the Tom Lehrer of cabaret music. Like Lehrer, he’s a math professor with an insatiable love for parodies. His latest album A Jewish Boy’s Christmas is out just in time for the holidays and streaming at Spotify. The songs first took shape as part of what would become a spoofy annual concert. They’re sardonic, cynical, sometimes schmaltzy, other times absolutely priceless.

True to form, he covers Lehrer’s Hanukkah in Santa Monica, but adds some lyrics of his own, a litany of holidays too good to give away here. Then he does the first verse again – in what sounds, at least from a former Lower East Sider’s perspective, to be perfectly good Yiddish. If you want a translation of “Every California maid’ll find me playing with my dreydl,” this is where to find it.

What’s a Jew to Do on Christmas is a deadpan, faux-wistful swing ballad about Christmas envy. What if ham could be kosher for a day – and maybe shrimp too? Multi-instrumentalist Drew Jurecka’s clarinet echoes that sentiment over the judicious backdrop of Peter Hill on piano, Ross MacIntyre on bass and Ernesto Cervini on drums.

As one of several shout-outs to Jewish artists who’re responsible for famous Christmas songs, Mel Torme is represented twice. The Christmas Waltz is a duet with Broverman’s cabaret partner, chanteuse Whitney Ross-Barris. The other is The Christmas Song, a.k.a. Chestnuts Roasting on an Open Fire – it’s not Nat Cole, but Broverman nevertheless characterizes it as one of the album’s more “serious” songs. Oy.

Ross-Barris’ misty take of the British folk staple Coventry Carol is the best of the serious tunes here, a somber jazz waltz. Then Broverman flips the script with You’re Speaking Yiddish, an irresistibly dixieland-flavored litany of chazzerai, shiksas, kvelling shlemiels and such which have insinuated themselves into everyday English.

The First Noel Parody, featuring the Toronto Mendelssohn Choir, casts a suspicious eye on members of the tribe who celebrate Christmas – hey, don’t laugh, in the old country the cossacks would leave you alone if you were ho-ho-hoing with everybody else.

Ross-Barris offers a brassy take of the Tom Waits classic Christmas Card From a Hooker in Minneapolis. Christmas Carol Parodies might be the album’s best track, a cautionary medley about holiday selfies, overindulgence and the Halloweenish experience of children’s concerts.

Broverman explains Swinging the Chicken as “a comedic look at the traditional Yom Kippur ritual ‘kapores,’ when a live chicken is passed overhead three times with the hope that it will help atone for one’s sins.” Mazel tov. Ken Whiteley plays slide guitar and Jurecka switches to fiddle in this ersatz western swing tale of poultry in motion. To call this one of the alltime great Christmas albums is akin to saying that Shoko Nagai is one of the world’s greatest Japanese klezmer accordionists. Such things do exist; this is one of them.

The Ghost Train Orchestra Steam Back to Upbeat, Playful Terrain

Back in January, this blog asserted that “It’s impossible to think of a better way to start the year than watching Brian Carpenter’s Ghost Train Orchestra slink and swing their way through the darkly surreal album release show for their new one, Book of Rhapsodies Vol. 2 at Jazz at Lincoln Center.” The album is actually far more lighthearted and frequently cartoonish, with ambitious charts that strongly evoke 50s lounge jazz oddball innovator Juan Garcia Esquivel. Once again, the ensemble have created a setlist of strangely compelling obscurities from the 30s and 40s.

In an era when nobody buys albums anymore, the Ghost Train Orchestra have sold an amazing number of them, topping the jazz charts as a hot 20s revival act. Yet for the last five years or so, frontman/trumpeter Carpenter has been revisiting his noir roots from back in the 90s, with lavishly rewarding results. This release – streaming at Bandcamp – is characteristically cinematic, but seldom very dark. It opens with cartoon music maven Raymond Scott’s Confusion Among a Fleet of Taxi Cabs. a romp with horn and siren effects that comes together with a jubilantly brassy, New Orleans-tinged pulse, bringing to mind the Microscopic Septet at their most boisterous.

Likewise, Mazz Swift’s violin and Dennis Lichtman’s clarinet spiral and burst over the scampering pulse of bassist Michael Bates and drummer Rob Garcia in Hal Herzon’s Hare and Hounds – meanwhile, some goof in the band is boinging away on a jawharp. Reginald Forsythe’s Deep Forest, which Carpenter wryly introduces as “A hymn to darkness, part one,” is closer to Esquivel taking a stab at covering Black and Tan Fantasy, guitarist Avi Bortnick adding spikily ominous contrast beneath the band’s ragtimey stroll.

The strutting miniature Pedigree on a Pomander Walk, the second Herzon tune, is just plain silly. Carpenter’s tongue-in-cheek muted lines mingle with Ben Kono’s tenor sax and the rest of the horns in Alec Wilder’s Walking Home in Spring, Ron Caswell’s tuba bubbling underneath. The latin-tinged Deserted Ballroom, a final Herzon number, has a balmy bounce over a creepy chromatic vamp, a choir of voices supplying campy vocalese over lush strings and a Chicago blues solo from Bortnick. A neat trick ending takes it into far darker, Beninghove’s Hangmen-ish territory.

The disquiet is more distant but ever-present in A Little Girl Grows Up, a Wilder tune, despite the childlike vocals and coyly buoyant, dixieland-flavored horns. The band make Esquivellian Romany swing out of Chopin with Fantasy Impromptu: Swift’s classical cadenza toward the end is devilishly fun. They follow that with another Wilder number, Kindergarten Flower Pageant, which would be tongue-in-cheek fun save for that annoying kiddie chorus. Sometimes children really should be seen and not heard.

A playful minor-key cha-cha, Lament for Congo – another Forsythe tune – has bristling guitar, lush strings, faux-shamanic drums, Tarzan vocals and a lively dixieland interlude. The strings in Wilder’s The House Detective Registers look back to Django Reinhardt as much as the winds take the music back a decade further. The final tune, by Forsythe, is Garden of Weed, which doesn’t seem to be about what you probably think it is. It’s a somber, early Ellingtonian-flavored ragtime stroll, Garcia’s hardware enhancing the primitive, lo-fi ambience, up to a livelier exchange of voices.

Irresistibly Quirky Ukulele Fun at the Jalopy

Ukulele bands are supposed to be funny. Saturday night at the Jalopy, the twinbill of Ukulele Scramble and the Ukuladies kept everybody chuckling and frequently laughing out loud for the better part of two hours. Name a comedian who can pull that off.

True to their name, Ukulele Scramble play a lot of mashups. When they’re not twisting styles from across the decades – and centuries – into knots, they’re playing ridiculous segues, and repertoire that was definitely never meant to be played on the uke. When’s the last time you heard ukulele versions of classical compositions by Charles Ives or Amy Beach? Ukulele Scramble did both, and well!

Six years ago, Robin Hoffman described herself as an aspiring uke player. Her main gig was visual art: her two coffee table books feature the illustrations she drew as a regular in the audience at the Jalopy. Last night, on the same stage where she captured a generation of New York Americana music talent in all sorts of revealing, kinetic poses, she played Bach. That was midway through a spiky, sparkling cover of Pink Floyd’s uneasy psychedelic pop classic See Emily Play.

Her sparring partner in this duo project, Richard Perlmutter sparred back and forth with the audience in an endless “name that tune” game when he wasn’t spinning precise spirals and nimbly plucking out complex classical chords. At least as complex as you can play on a uke, anyway

Hoffman sang the night’s funniest song, a version of the Brahms lullaby with new lyrics about being kept awake by a fly in the bedroom – the joke is too good to give away. They did Five Foot Two, Eyes of Blue, which more than one uke player in the crowd agreed was the first tune that pretty much everybody learns to play on it. Throughout the set, Perlmutter’s flinty vocals contrasted with Hoffman’s cool torch-singer delivery throughout all sorts of clever syncopation and intricate harmony. The most dizzyingly impressive number was a tonguetwisting can-can remake of piece by Offenbach.

The Ukuladies used to be much more ubiquitous than they are now: ten years ago, you’d find them at Rodeo Bar one day, then at Barbes or Joe’s Pub the next. So it’s no surprise that their irrepressible, theatrical shtick was more about breaking the fourth wall this time out – and maybe especially fresh because of it. Tapdancer Heather Warfel a.k.a. Cousin Bunnie flashed a series of charmingly lo-fi props while uke players Katie Down and Mary Myers a.k.a. Genevieve and her Aunt Mary harmonized together through a mix of Andrews Sisters girl-group jazz numbers and sardonic originals.

Their funniest of those was Put Another Nickel in the Nickelodeon, interspersed with innumerable snippets of cheesy pop songs. They also treated the crowd to Asshole in a SUV – a classic Brooklyn song if there ever was one – and a tongue-in-cheek one about getting gaymarried that managed to poke fun at both those who do and those who object to it. Singing saw player Philippa Thompson a.k.a.  Jimmy Lu – who’d just played a set with another excellent Jalopy act, M Shanghai String Band at the Brooklyn Americana Festival earlier in the day – led the quartet through a witheringly cynical bossa nova parody. Warfel got a turn on lead vocals in a number where it was revealed that the Ukuladies aren’t really a family band: they’re her backing unit.

Ukulele Scramble, based in Massachusetts, are playing Sept 27 at 6:30 PM at the Merriam-Gilbert Public Library, 3 W Main St in West Brookfield, MA.

Video Satire of the Day – LMAO

If twee overkill has pushed you past the boiling point, you’ll feel deliciously avenged by Passive Aggressives Anonymous’ new video, (Let’s Have a Nice White) Middle Class Male Cry (via Youtube). If NPR doesn’t pick this deadpan, venomous faux bossa pop tune for a Tiny Desk Concert, there’s something wrong. Frontguy John Valenti’s outfit and haircut are just as spot-on sick as the song. Weird Al Yankovic meets Tredici Bacci with a Morrissey wannabe out front – it’s funny just to think about.

A Rare Christmas Album That’s Not Cloying and Annoying

Christmas music rots your brain. It’s true! Scientific studies have confirmed what most of us have known all along. No wonder, considering how repetitive, unsophisticated and utterly lacking in dynamics most Christmas songs are.

Into this musical wasteland swings Champian Fulton, one of the great wits in jazz, with her irresistible and stunningly dynamic new album Christmas With Champian, streaming at Spotify. There hasn’t been a Christmas record this fun or this subtly irreverent since dub reggae band Super Hi-Fi’s two woozy instrumental albums of “holiday favorites.”

Fulton is the best singing pianist in jazz. There isn’t another instrumentalist out there with her mic skills, nor a singer with her fearsome chops at the keys. More than anything else, this is a great jazz record in a Santa hat. Fulton never ceases to find both poignancy and exuberant fun in the least expected places. For the latter, check out how she Sarah Vaughans White Christmas, the album’s opening track. Better watch out if you don’t want that snow, because Fulton sounds like she might smack you upside the head! It’s a good guess that Irving Berlin, who cut his teeth in ragtime, would approve of this jaunty, bluesy arrangement.

Fulton’s take of Pretty Paper, recast as a brisk jazz waltz, has to be the saddest version of the song ever recorded. That vendor girl, out there in the cold with all that merch she has to unload before the 25th of the month or she loses all her money! Likewise, the solo piano-and-vocal version of I’ll Be Home for Christmas is balmy and plaintive: when Fulton hits the end of the chorus, “if only in my dreams” packs a wallop.

Walking in a Winter Wonderland gets reinvented as wry viper swing, with some coyly emphatic trumpet from her dad, Stephen Fulton, who also lights up a carefully articulated version of Gracias a Dios. She sings that one in Spanish, hardly a stretch considering her Mexican heritage – and the point where she follows her dad’s solo with a deadpan jinglebell solo of her own is subtly priceless. Drummer Fukushi Tainaka’s elegant brushwork and David Williams’ terse bass add subtle bolero hints.

The Christmas Song – better known as Chestnuts Roasting on an Open Fire – is one of only a couple of tracks here with a genuine jazz pedigree, but Fulton goes for devious, tongue-in-cheek humor rather than trying to follow in Nat Cole’s footsteps.  She reinvents Have Yourself a Merry Little Christmas as midtempo swing, with hints of Dinah Washington and an unexpectedly dark intro that edges toward barrelhouse.

Daughter and father team up to remake Christmas Time Is Here as a bittersweet, lustrous, languidly tropical instrumental ballad. Likewise, she transforms A Child Is Born into a bluesy waltz, with a melismatic, insistent bass solo. Her piano solo in a wee-hours take of The Christmas Waltz goes in the opposite direction, with enough droll ornamentation for a fifty-foot tree.

Her version of Sleigh Ride pairs a boisterous trumpet solo with an unexpectedly seductive vocal and teasingly allusive piano, an approach she revisits in Let It Snow. The Dinah-inspired piano-and-vocal final number, Merry Merry Christmas, is the only Fulton original here, but could easily date from sixty years ago – and might make it to your local supermarket someday.