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Charming HostessJewlia Eisenberg with Marika Hughes and Cynthia Taylorsounds like a Phil Spector '60s girl group that decided to fire the famed producer, telling him on the way out the door, "So long, pal, we got some ideas of our own." Their ideas, on Sarajevo Blues, are in the socially concious/protest vein; they make their music with handclaps and sweet harmonies, vocal percussion, sex-breath, a beatbox, cello, and violin, telling the story of war in Sarajevo, working with the text by Bosnian poet Sem Mehmedinovic to create an upbeat and beautiful sound.
Many of the themes explored here are heavy, but in the mode of Phil Ochs'1ate-1960s hit "Outside of a Small Circle of Friends" or Country Joe's "Feel Like I'm Fixin' To Die Rag," Charming Hostessa self-described "Nerdy-sexy-commie-girlie band"juxtaposes thematically weighty issues with bright, exuberant sounds, telling tales of horror with a life-affirming sound that thumbs its nose at the venal stupidity of those who wage war.
"Death Is A Job"a hit record for a new millenniumis the highlight for this listener, a story of crossing an intersection to avoid a sniper's bullet and running into a war photographer, a tale told with doo-wop vocals backed by a beatbox, a tight rhythm full of glorious girl group energy.
If it all sounds like a weighty listengrenades and blood washed away by rain, bullets flyingthe disc can enjoyed on musical terms alone. Moments like the cello/bass interplay behind the vocals on "Zenica Blues" are heaven, as are the vocal harmonies throughout, along with the pure feminine energy of it all.
An informed source tells me Charming Hostess is quite something in a live setting. They're quite something on disc, too.
Track Listing: Viva Orduenya, Si Veriash La Rana, War, The Tunnel, Imam Bey's Mosque, Exodus, Expulsion, What Will You Remember, Grbavica, Death Is A Job, A Relatively Calm Day, Zenica Blues, Open Dialogue, Adam, Aish Ye K'dish
Personnel: Jewlia Eisenberg--voice, harmonium; Marika Hughes--voice, cello; Cynthia Taylor--voice; with special guests: Wesley Anderson, Juliet Lee--drums; Tim Barsky--beatbox; Devin Hoff--double bass; Dan Rathbunbass; Carla Kihlstedt--violin; Nils Frykdahl--nylon oud, voice; Ishay Sommer--guitars, electronics; Roy Yarkoni--keyboards; Yoav Klein--bassoons
Year Released: 2005
| Record Label: Tzadik
| Style: Vocal
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.