Review: The Hot Sardines

This band is on a mission to put the “hot” back into “hot jazz.” Think Louis Armstrong’s legendary Hot Five and Hot Seven combos, with a pinch of the gutbucket grit of swing revivalists like Big Bad Voodoo Daddy. Their repertoire tends to pre-1930 songs, popularized by the likes of Sophie Tucker and Mamie Smith. Lead singer Elizabeth Bougerol is openly committed to “infotainment,” detailing the difficulty Tucker faced early in her career, and her later support for black artists like Smith.

Bougerol and pianist / bandleader Evan Palazzo met in 2007 after they both answered a Craigslist ad about a jazz jam session above a Manhattan noodle shop. Palazzo passed her litmus test – he knew Fats Waller’s “Your Feet’s Too Big” and could play it off the top of his head. Since then they have been increasing the size of the ensemble; it’s presently a hot eight-piece. Perhaps most inventively, the band includes a tap dancer, A. C. Lincoln, who intentionally plays the part of a percussionist more than a dancer. He favors the earlier, heavier style of tap called “hoofing,” which fits in perfectly with the Sardines’ highly rhythmic, hard-swinging sound.

Bougerol was born in France and injects the occasional French-language vocal into the mix, regardless of whether the song was originally in French or not. This sort of playful irreverence forms a central part of the band’s aesthetic, showing up in Palazzo’s frisky fugue-like intro to “Comes Love,” and in Bougerol’s discoursing on the “single-entendre” metaphors that blues singers used for dirty or “hokum” songs. They then launch into the hokum classic “Jelly Roll” with bouncy abandon. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

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