Sometimes the most valuable player at a gig isn’t even onstage. While we were on tour in Vermont this summer, we were blessed to have a young man, Dyllan, in charge of locating, transporting and setting up our back line for every gig. He was on site before we were, and he had nearly unlimited energy for getting drums, amps and keyboards on stage. After our gig in Greensboro was finished, it was absolutely pouring outside, and we dreaded having to mush through the muck to our cars. But it turned out that wasn’t necessary–Dyllan had already moved all the vehicles that needed to be moved and was quickly striking the set and bounding off the stage, brutally heavy amps in hand. Not once did we have to ask for help. He was a step ahead of us with all the help we needed. We hear he’s a talented bassist, so he may well have roadies of his own soon. Our wish for him is that they’ll have his same great energy and healthy knees.
You never know where your next idea will come from. For us, most recently, it came from a set of walking directions and an offhand crack from Pete. Last month, when we played at The Rooster’s Wife in North Carolina, we were honored to be houseguests of the club’s owner, Janet Kenworthy. After sound check, Janet gave us directions to her house: “Walk out this door, turn right on High Street, then walk up to Blue Street and it’s right there.” “OK,” I repeated, “You’re at the corner of High and Blue.” After the perfect pause, Pete said meaningfully, “Man, I’ve been there.”
How could this not be the next song in what Marilyn refers to as our “scorned-woman-slumped-over-
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.
Thanks to Amos Perrine for his very kind words in No Depression—our first review in this authoritative journal of American roots music:
I first saw Chaise Lounge by accident a couple years back, and what I thought might be a tragically hip retro band turned out to be completely the opposite. Much like Chris Siebert, who leads Lavay Smith’s band, and Thomas Lauderdale of Pink Martini, Charlie Barnett keeps the band’s eye firmly focused on the musical prize, but with a dry martini on the side.
Their latest, Gin Fizz Fandango, is at once playful and seductive jazz, sometimes with gorgeous vocals by Marilyn Older, and other times it’s Joe Jackson’s trombone that makes you feel you are in the middle of a Fellini movie, as he evokes ghosts of Nino Rota.
This, their seventh album since 1999, is full of wit, charm, and elegance that could only come from a jazz band harkening back to the golden age, but without a fatal sense of nostalgic irony. The disc is full of originals, save for one Cole Porter tune. Like a gin fizz, Chaise Lounge tickles not only your senses, but your fancy as well. The album is out now, so tango on over.