JP Soars & Anne Harris

Gypsy Blue Revue

Forty Below Records

The thick, muddy groove these players at once slip and trudge through in “Jesse Mae,” the album-opening homage to legendary hill country blues woman Jesse Mae Hemphill, instantly foretells the terrific things to come. But guitarist JP Soars, violinist Anne Harris, bassist Chris Peet, drummer Cleveland Frederick, and album engineer Jeremy Staska on tambourine and shakers, click even more so on the follow-up, Soars’ “Go with the Flow.” There, they mix samba and western swing to enthralling effect. With that instrumental spree on top of the serious Soars/Rev. Billy C. Wirtz blues, this formidable band establishes the scheme of their Gypsy Blue Revue. Although this album could easily be slotted into the blues category, the diversity in spirit woven together throughout it leaves categorization in the dust.

Florida bluesman JP Soars displays a striking proficiency on various stringed and percussion instruments and produced the album with punch and clarity. He also wrote the lion’s share of the songs. Violinist and mandolinist Harris, based in Chicago, is a natural, versed in styles of music ranging from Celtic to Afro-beat to the various styles of American blues. In “Viper,” the quintet struts cagily on a behind-the-French-Quarter melody. Soars, in a gravelly, persuasive voice, lays down the tale of a man that chose decidedly wrong in the companion department. But to lighten the load, he and Harris flutter through the melody together like butterflies in a dance that neither of them can end. Then, at the opposite end of the spectrum, “Paradise” inspires happiness by its bright mix of Island and Spanish Flamenco vibes featuring Soars’ gorgeous guitar playing.

A meandering country blues, “Going to South Carolina” hits home for this writer, Soars singing the song offhandedly but making his joy of locating himself to the Palmetto state very apparent, nonetheless. That gives way to “May Mountain Waltz,” a Celtic-inspired instrumental that Anne Harris gets lost in, perhaps mesmerizing herself as much as she does her audience.

Naturally, any album with the word Gypsy in its title that features predominately instrumental music by a laudable guitarist and violinist would have to include a Django Reinhardt piece. Thankfully, they perform Reinhardt’s “Minor Blues” respectfully, enthusiastically, and wonderfully, each player taking a well-deserved walk into the spotlight during it. Also, since this album seems to be all about playing meaningful music for the sheer joy experienced in doing so, the rambling, jam band-like “Cigar Box Jam” makes sense. But eighteen and a half minutes of it to end the album is a lot to ask. Although it takes some getting used to, the free-form idea behind it, with nods to Santana, Hendrix, the Beatles, and more, does pay dividends. And Soars gets major points for playing all his parts on a homemade two-string guitar.

Tom Clarke for MAS

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