The soul of Bluegrass with the nuances of old-time
Dixieland--all in a one-of-a-kind Brooklyn package.
January 28, 2001
The
Bootleg Remedy officially released its self-titled debut CD on February 3, 2001,
at the Brooklyn hot spot Pete’s Candy Store. The all-acoustic septet has
been described as bringing out “reminiscences of bluegrass, dixieland polyphony,
roaring twenties wild rhythms and instrumental expressivenes in a totally new
contemporary way” by award-winning composer Bruno Louchouarn, who adds
that “sensuousness and humour, the high quality of playing and tight production”
characterize the new recording.
The Williamsburg-based Bootleg Remedy has performed in
various New York-area venues, building up a substantial fan base in Brooklyn
and Manhattan. Despite the often rural and/or “old-timey” sound of
the band, its music and history have a distinctly urban and contemporary presence.
The group formed when banjoist/composer David Gould met Rachael Birkin in a
Manhattan subway station. The duo began discussing the fiddle slung over Birkin’s
shoulder. A guitarist and a bassist joined the mix, and the bluegrass-playing
Bootleg Remedy was born. Later, after a shift in personnel (which included the
addition of guitarist Dave Yantorno), Gould heard Michael Arenella playing trombone
in another subway station and immediately exchanged phone numbers. Along with
a colorful and deft grasp of his instrument, Arenella introduced to the group
tuba player John Simonetti and clarinetist Eric Kay.
In addition to several original compositions by Gould,
the Bootleg Remedy CD contains interpretations of the classic bluegrass song
“Old Salty Dog Blues” and Bill Monroe’s famous “Blue Moon
of Kentucky.” Of course, while The Bootleg Remedy has made many listeners
more familiar with bluegrass over the past year, the group is not trying to
“revive” this music, but rather feels part of a living, breathing
tradition right here in New York. Notice, for example, the several weekly bluegrass
jam sessions in town and the emergence of country-related styles in pop and
alternative music both locally and nation-wide; the recent film “O Brother
Where Art Thou” should further cement bluegrass’s presence in the
latter’s conscience. And, of course, the band’s other major influence--early
jazz--is not unprecedented either around these parts: Woody Allen’s New
Orleans-style jazz band has made quite a splash in New York City, and certain
national groups (e.g. Squirrel Nut Zippers) have even crossed into the mainstream
with their retro” sounds. But what The Bootleg Remedy offers is a fresh
mix of these American styles. The group’s reverence for, but not restriction
to, these traditions allows it to break ground with a new sound while still
remaining an active part of these artforms’ continuing histories.
REVIEWS
Reviewer: Time Out New York, From February 1-8, 2001
Issue ...The band plays a mix of jaunty Dixieland and energetic bluegrass--though
its cover of Bill Monroe's "Blue Moon of Kentucky" has the requisite
pathos. The CD feels so homey that you keep waiting for the telltale crackles
and pops associated with the old 78s.
Reviewer: Thatcher Graham, The Music Syndicate Your album
is awesome. I laughed out of sheer joy. It's rare that I get to hear an album
of such invigorating and inspiring music, it just makes me feel good. I've aready
shown it to many of my friends. You'll probably have a few more sales by Friday,
it was a complete hit with them.
LINKS
To hear samples and/or buy a CD, please visit CD
Baby.
