Cory Weeds: Hip to Be Square Plays Huey Lewis & The News

There is something wonderfully mischievous about Cory Weeds taking on Huey Lewis and the News. At first glance, the pairing might seem unlikely, but spend a little time with Hip to Be Square - Plays Huey Lewis & The News (Boop Bop Bing Bash!) and the logic becomes clear. The band's songs were built on strong melodies, deep grooves, and a healthy dose of the blues, making them surprisingly natural material for a Hammond B3 organ quartet. Saxophonist Weeds, organist Chris Hazelton, guitarist David Rourke, and drummer Rudy Petschauer clearly understand this. More importantly, they sound like they are having a great time.

"The Power Of Love" gets things moving with a muscular soul-jazz treatment built on Hazelton's voluminous bass line. The familiar melody remains intact, leaving plenty of room for Weeds, Hazelton, and Rourke to fill the space, each riding a crest of euphoric solos. "Bad Is Bad" settles into a greasy blues groove, true to its name. Weeds feeds off the line, sounding particularly relaxed and expansive. Rourke stuffs his notes with weight and savvy.

The title track "Hip to Be Square" is perhaps the most natural transformation of all. Its bouncy stomp hook fits beautifully within this swinging arrangement. The band speaks as one, with a fervent yet unflashy approach, and Weeds, Rourke, and Hazelton deliver animated, inventive solos. This section closes with "If This Is It," as the band leans into the song's emotional core without becoming sentimental or losing its imagination.

The Boop Bop Bing Bash! portion opens the door even wider. "There Arno Answers," composed by Weeds and Hazelton, has the loose, exploratory quality of a tune whose harmonic choices shift as the number develops under the musicians' hands. Rourke's "Meezy's Back In Town" is an irresistible, catchy piece, with the guitarist playing in a spare, dry manner while Weeds delivers his solo in a low-gloss tone. Hazelton, meanwhile, brings an open-ended spirit of inquiry to his interjection.

"The People's Choice" offers a change of pace with a greasy bossa that is relaxed yet rhythmically alert. Weeds, Rourke, and Hazelton show they are sensitive and articulate instrumentalists. The title track, "Boop Bop Bing Bash" by organist Billy Gardner, fits right into Weeds' wheelhouse; from the opening notes, it's clear the other players are all in on a smart, slashing interpretation of the tune. Hazelton approached the organ with a piano-like touch and a solid groove. Weeds joined in with fresh ferocity, while Rourke danced up and down the fretboard. Petschauer proved he was a drummer with a trustworthy engine.

The closer to the album is "Get The Money Blues" by trumpeter Jimmy Owens, who throughout his career demonstrated his command of the blues style. In this up-tempo vehicle, the band doesn't overthink it; they just roll up their sleeves and have fun.

Ultimately, the album works because Weeds found the jazz in Huey Lewis and let his quartet run with it.