Sweet Megg: Bluer Than Blue

One of the more niche genres in the history of jazz is western swing. Primarily dance music and hugely popular in the Southwest, it originated as a jambalaya blending hot jazz, country, blues, pop and traditional fiddle playing, performed by combos such as the Light Crust Doughboys and Bob Wills and his Texas Playboys. It incorporated instrumentation including violins, steel and electric guitars with other instruments. The music was a precursor of rockabilly. Bluer Than Blue superbly resurrects that energetic style by delivering 12 marvelously-performed Western swing-styled tracks—covers and one original—that feature fine vocalist Sweet Megg backed by a terrific cadre of first-class trad players. The result is a joyous romp. "Bluer Than Blue" launches as an up-tempo two-beat with Mike Davis' muted trumped and Ricky Alexander's clarinet before Megg energetically croons, with a slide guitar answering. Justin Poindexter and Chris Scruggs' guitars add swing. Billy Contreras fiddles as all join and burn here.

"One More Time with Feeling" from Kris Kristofferson and Shel Silverstein leans mostly on the country and western vibe with a raucous hot jazz section. Megg takes this one home, belting over the party behind her. "I Wonder Where You Are Tonight," a classic country selection, has Megg pining away with violin and guitar accompanying. Alexander's fine tenor counterpoints Megg well here. Wills' famous "San Antonio Rose," a kick 'em up classic, incorporates a vocal overdub and fine solos from fiddle, guitar, steel guitar and piano before moving into a traditional jazz style back-and-forth, all chiming in for a ride and a hellaciously joyous climax. This track is a highlight and a brilliantly arranged and played example of the western swing genre. "Someday Sweetheart," is a honky-tonk good-timer in which trad star trumpeter Davis, trombonist, Sam Chess and others dig into the two-beat and shuffle grooves behind Megg's rhythmically effervescent singing. Megg Farrell is a fascinatingly interesting and talented vocalist. Originally from New York, she has the Patsy Cline and classic country-western influences perfected. She is animated and involved and is wise not to overdo the vocal slides and yodel effects sometimes prevalent in the that style.

Lyrically and rhythmically, she is aces. Much of the material is story lyric and, whether on a slower ballad or up-tempo two-beat, she delivers. Probably the most unique, if not oddest, track on the date from a production standpoint is the cover of Duke Ellington's "In a Sentimental Mood." The team covers the workhorse in a very slow, almost elegiac style reminiscent of "Laura Palmer's Theme" from Twin Peaks (ABC Television, 1990). Slide guitar, organ and a violin solo add to the spookiness. "Lonesome Hearted Blues" is a white-hot burning blues which features Dalton Ridenhour wailing jazz a la Count Basie and Contreras with a burner of a solo. It is a perfect blend of swing, groove and Megg's vocal—another highlight. "Remember Me," originally written and performed by Stuart Hamblen, closes the session with more of a shuffling country flavor. Alexander's tenor and the ensemble call and respond. Megg shines as this curtain falls. The accompanying on this album are all exceptional performers. Davis, Alexander and Ritenhour are A-listers in traditional jazz and have a lengthy track record of both successful recordings and celebrated performances. Bassist Dennis Crouch and drummer Chris Gelb excellently cover the wide variety of rhythmic grooves.

Bluer Than Blue is a bit of an acquired taste. It is both a superbly performed effort and a grateful historical hat-tip to a genre worthy of additional listening.

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