The Joymakers DOWN WHERE THE BLUBONNETS GROW

October 27, 2024

THE JOYMAKERS

DOWN WHERE THE BLUBONNETS GROW

Turtle Bay Records

Colin Hancock, cornet/baritone saxophone/alto saxophone/trombone/vocals; David Jellema, clarinet/C-melody sax/cornet/vocals; Lauryn Gould, alto, soprano & tenor saxophones/vocals; Dylan Blackthorn, piano/accordion; Westen Borghesi, tenor banjo; Shane Dickens, piano; Ryan Neubauer, drums.

I am not a huge fan of the old-school, Traditional jazz and Bluegrass music, but I leaped into the genre with both feet while listening to this recording. I have to say, when I heard the first strains of a tune called “Papa’s Gone” I flashed back to my grandparent’s house and the music I heard played on their record player years ago, when I was a very small child. That’s what ‘The Joymakers’ reminded me of; that music from the 1920 and 1930 movies. I also heard similar music played behind the “Little Rascal” television show I watched as a kid. This music made me smile.

The Joymakers concentrate on playing music with New Orleans jazz roots that spread territorially, to inspire bands based in San Antonio, Texas and even Kansas City. On this first song, Colin Hancock leads and solos on his cornet at the top of the tune and towards the end of the track. He also surprises me by singing a spirited and convincing vocal. Western Borghesi slaps the tenor banjo and Ryan Neubauer keeps the rhythm locked in tightly on drums.

This music, with shuffle blues rhythms, reminds me of the blues Gertrude Ma Rainey used to sing; especially tunes like “I’m a Thousand Miles from Home” featuring Lauryn Gould on vocals. There is always a little taste of Bluegrass music peeking from the joyful arrangements. The title tune has that New Orleans marching band groove, with a lazy swing feeling provided by drummer Neubauer, who accents on the two and four with the banjo. Ragtime piano is prevalent during “Goofy Dust Rag.”

This album gives me a new appreciation for this type of music. It features Hancock’s arrangements of territory band songs associated with Moten’s famous bands of 1923 to 1928. Hancock is preserving a time and genre of jazz that is certainly under-recorded and might be forgotten, save the indulgence and determination of Colin Hancock and his band of merry musicians. The happiness caught up in this music is infectious. Take for example their tune, “Crazy Quilt.” It made me re-think my non-appreciation of Bluegrass slap bass and Traditional jazz.

Reviewed by Dee Dee McNeil

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