We are delighted to announce the release of our eighth album: The Lock & the Key. There are eleven cuts on it: nine originals and two covers. It took just about a year to make, and we are quite proud of it. One of Charlie’s favorite tracks is “The Sweet Ride Home,” for which singer Marilyn Older wrote a lyric about the moments just after a wonderful date. It’s driven by a groove from drummer Tommy Barrick, and the melody is ghosted a fourth down by Joe Jackson’s trombone. Tutti ensemble section in the middle is the full-on Chaise Lounge statement. Another fave: “The Earl.” Sax player Gary Gregg routinely stuns our live audiences with his ultra-melodic solos, and we captured a hot one on this track, named for one of Gary’s saxophone heroes, Earl Bostic. Bass (and tambourine) player Pete Ostle shines on “Mozambique.” We may be especially proud of the last song on the record, “I Grew a Rose,” because we tried to get a very retro Harry Belafonte sound, and we think we hit the nail on the head. In concert, we sometimes use male backing vocals as comic relief, but on this cut we are nothing but sincere. The artwork for the album is by Adriana Cordero.
Chaise Lounge acted as an emissary between two musical countries last weekend–and the odd and somewhat schizophrenic nature of what we do was brought into sharp focus. On Saturday night, we played at Chris’ Jazz Café in Philadelphia, the jazziest of East Coast Jazz clubs. On Sunday, we played at Godfrey Daniels, a quintessential folk club in Pennsylvania’s Lehigh Valley. Jazz and folk: Could Chaise Lounge really find common ground between those two ideologies? At Chris’ we brought a folksinger’s love of storytelling to the coolest cats in Philly. And at Godfrey Daniels, we brought our sharp suits and sharp chops and swung our as*** off for the salt-of-the-earth folksters of Bethlehem. And hooray, it felt like we brought a little bit of peace, love, and understanding to both sides, at a time when our country can use as much peace, love, and understanding as we can get.
The Rooster’s Wife is a Brigadoon-like venue that springs to life once a week in a building that used to be a plumbing supply warehouse. Located in the tiny town of Aberdeen, North Carolina, the concert hall is the singular vision of one person, Janet Kenworthy, who loves live music in a way that bakers love bread and flowers love rain. It is partly the depth of her passion that attracts great bands from all over North America, and it’s partly the crowd that she has cultivated. At the odd time of 6:46 PM (every show starts then), an audience of enthusiastic and knowledgable music lovers assembles in this unlikely spot. The confluence of good music and a good audience is the magic formula that every band dreams of. It’s why we were honored to make the pilgrimage to Aberdeen again this year for a Mother’s Day show. Thanks Janet, for making this happen. And thanks to North Carolina-based photographer John Gessner for his wonderful shots of the evening.
In Chaise Lounge’s seventh album, there’s swoonworthy original music, a timely reference to downloadable lyrics and chords, and a recipe for Gin Fizz Fandango (provided by the band’s bassist, Pete Ostle). Gin Fizz Fandango also happens to be the title track of a new album, released on Sept. 10, 2015 (Modern Songbook Records).
This is no ordinary jazz album. This is what they call a “cheeky” character album full of flirty flights of fancy perpetrated by musicians who take on the air of guys and dolls in a ballroom brawl — all in good fun.
The D.C. sextet features Charlie Barnett on guitar and piano, vocalist Marilyn Older, bassist Pete Ostle, percussionist Tommy Barrick, trombonist Joe Jackson, and reed man Gary Gregg. Barnett, a film composer, wrote 11 of the 12 songs, save for Cole Porter’s “It’s All Right With Me.” Older plays piano on two tracks.
Chaise Lounge has been around since 1999, when the musicians jammed together at one of Barnett’s recording sessions. Ever since, they’ve jammed all over the country on the strength of a tight rhythm section, limber horn players, and the sweet, Betty Boop vocal style of Older.
The music is as retro-hip — think the Depression and the Prohibition, circa 1920-‘30s — as it gets, gently swinging, a little tongue-in-cheek in the hopscotch lyrics, tickling traces of a forgotten soundtrack from another era, even daring in places (a horn vocalese from the actual “Hopscotch”).
The overall vibe does feel like sipping on a fizzy cocktail, the bubbles tickling your nose, whether trombonist Jackson slides in on a slinky tango throughout the “Gin Fizz Fandango” instrumental or Older swinging on a pop song like “You,” where the lyrics go down as easy as the spring in the step of the horn players.
“You’s” particularly fetching for its cute, clever use of tempo to swing fast and slow, to a tantalizing crawl on the bridge home (“here’s where we end once we circle again, let’s drive real slow breathing in as we go”). Older also does quite a nice rap over the swizzle stick of horns at the 3/4th mark without faltering or needing a breather: “You accidentally brush my leg, and I go falling hard again, all you have to do is breathe your perfect love inside of me.”
Chaise Lounge isn’t a sit-and-listen band. The musicians play serious retro-dance grooves, the kind that would give the “Dancing With The Stars” cast a serious workout. Listen and bust out the moves on “Mambo Noir.” Be silly with the children tip-toeing around in a game of Hide-and-Seek on “Pigs In Blankets.” Slow-waltz in a timeless haze on “If I Never Get To Paris,” mostly on trombonist Joe Jackson and pianist Charlie Barnett’s melodic lines. Do the tap-dance shuffle with grandpa on “Celestial Navigation.” Older scat-hums (la-da-da-da-da-dum) through this gem of a closer.
Lest you assume it’s all fun and games over at Chaise Lounge’s Gin Fizz Fandango, the band turns down the lights for the grim emotional reaper, “I See You.” Older turns up the lonely, still sweet but sweetly aching for the fulfillment of real recognition “when the world looks the other way, I look in your eyes and say, ‘I see you.’” This one’s pure vocals, pure bliss, with the musicians mostly keeping time and exacerbating the loneliness and fear — pianist Barnett pressing urgency in only a handful of chords over and over, bassist Ostle illuminating the darkness, Gregg sampling a taste of that exquisite agony on his sax.
The true test of a remarkable band is its schedule. Chaise Lounge’s is jam-packed. The next performance is 8 p.m. March 4 at the Montpelier Arts Center in Laurel, Md., then 8 p.m. and 10 p.m. April 6 at Blues Alley in D.C.