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Reviews: From:
Baltimore Magazine (June 2005 Issue) It takes a band of swaggering
retro geeks with exquisite taste and chops to cover Junior Walkers Cleos
Mood, Herbie Hancocks Cantaloupe Island, and Henry Mancinis
Soft Sounds on the same disc. Baltimores mighty Swingin
Swamis do just that on their new disc, Sookie! Sookie! An infectious groove cut
by keyboardist Snackie Hillman, drummer Zak Fusciello, and saxophonist John Dierker
anchors most of the material, and singer Melissa Sharlat adds a carefree sophistication
to tunes such as Keep an Eye on Love and Perhaps Perhaps Perhaps.
A pair of snappy originals by Hillman (Down for the Count and Shake
& Bake) add to the fun, and help make the disc an appropriate soundtrack
for both afternoon barbecues and late-night cocktail sessions. By John Lewis
From:
The Baltimore City Paper/No Cover (March 23, 2005 - Vol. 29, Issue 12)
Lyricist Lounge: The Local Cocktail-Hour Highballs of the Swingin Swamis
Add a Female Singer and Keep the Vibe Chilled By Ryan Boddy The
six members of the Swingin Swamis, lounging in the basement bar of a Mount
Vernon nightspot, collectively want to make something nice and sparkling clear.
They are not a swing band. Theres a cacophony of language going on
with our name, bassist Eddie Chabot says. Its enlightened bachelor
pad music. Swamis are supposed to be enlightened, but its loungey. The
Baltimore sextet unveils Sookie Sookie, its third CD of eclectic classics and
originals, this week. Ranging from mellow lounge standards to Isley Brothers funk
and originals penned by founding keyboardist/guitarist Snackie Hillman, Sookie
displays the Swamis talent for seamlessly mixing genres as well as showcasing
new vocalist Melissa Sharlat on many of its 16 tracks. Cuts
from the bands new album point to its members familiarity with multiple
styles. John Dierkers manic sax marks the opening strains of the record
in the Hillman-penned Down for the Count and swiftly gives way to
guitarist Chris Bavarias adroit finger-picking. All of Sookies songs
display improvisation in all the right places, with Dierker pressing his case
most effectively on the Jimmy Forrest classic Night Train. Sharlats
sultry vocals spice up the groups lounge chameleon appeal. Latin grooves
one minute give way to Rat Pack cool seconds later. In
fact, Sookie Sookie achieves what most cover-heavy albums cant: sounding
fresh and true to the originals without sounding like a high-school dance in the
process. Theres just enough bawdiness in Dierkers sax work and Sharlats
singing to avoid the saccharine, cut with enough restraint to keep the vibe from
feeling cheeky and contrived. Hillmans focus on the more burlesque side
of 1950s, 60s, and early 70s keeps the mood randy, with Bavarias
nimble guitar and Chabot and drummer Zak Fusciellos rhythm section setting
a laid-back ease befitting the material. We
just try to do things that sound interesting to us, Bavaria says. And
find little gems that havent been run into the ground to resuscitate. The
classic tunes are all familiar to the ear, and Hillmans originals feel comfortable
next to them. The band presently creates set lists from about 125 songs, its ear
for a timeless tune near flawless. We bring songs to the table democratically
just to keep from playing songs that some of us hate individually, Chabot
says. And
the band culls through this motley mix of songs without stretching themselves
thin in the process. Herbie Hancocks Cantaloupe Island meets Henry Mancini
and Doris Day effortlessly, and while listening you never feel jostled by the
gear change. A
lot of times well cover a song that we think is relatively obscure and itll
end up being used in a commercial, Hillman says. Joe Davis and Osvaldo Farrés
Perhaps Perhaps Perhaps and the Isley Brothers Its
Your Thing, both featured on Sookie Sookie, have appeared in TV ads. And
this knack with a sterling tune has been with the band since the beginning. Hillman
founded the band in 1997 with a revolving cast of players that has slowly coalesced
into a lineup that feels permanent. Sharlat and Bavaria are the most recent additions
to the group. (The current members are lifers, Chabot says.) While
many members have other projects, the Swamis are a hard-working band playing a
rigorous schedule of live dates and practicing at least once a week, all on top
of various day jobs. For example, Sharlat occasionally does musical theater, and
was in the 14 Karat Cabarets recent production of Dearest Mommie: A Musical
Ode to Joan, starring as Christina. And
its approaching the season for one of its steadiest gigs. The bands
deft melding of eras makes it popular among wedding planners; 15 of the whopping
90 dates the Swamis played last year were weddings. Our
clients are usually people whove seen us before, Hillman says. We
get hired by a lot of artsy people in their mid-20s to mid-30s for weddings. They
know it wont be the same recycled DJ wedding tunes but it wont upset
their family members. What we do bridges age gaps. Were
so used to doing it that its like any other show, Hillman continues.
You have to work out the formalities, like when to announce that the cake
is being cut and that sort of thing, but otherwise its just like any other
gig. Besides,
they have a little fun with it, too. We always get a lot of people who ask,
Whats that song? Chabot says. Thats unusual
at a wedding. Its like a musicology experiment. We get to sort of educate
our audiences and still have fun. Just,
you know, dont call them a wedding band. We dont do things the
way your typical wedding band does, Hillman says. Were quirky
but were not a wedding band in traditional sense. Weve run the gamut
on different types of venues played. We played a shitty pub one night and the
Kennedy Center the next one time.
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