Review of 68 Jay Show on LucidCulture - January 17, 2008
As many of you know, I've been performing a regular juke-joing-style show in DUMBO for a few months with Wylie Wirth. The folks at LucidCulture have been kind enough to post a few reviews of our shows on their popular blog site. I have copied the most recent below for our show this past Wednesday. While the style description doesn't account for my country and americana songs and influences--we do tend to focus more on the bluesy songs for these shows--its a very, very, nice blues review.
From: http://lucidculture.wordpress.com/category/reviews/
Will Scott Live at 68 Jay Street Bar, Brooklyn, NY 1/16/08
Scott is a real find, with a very high ceiling. He's been playing Wednesdays at around 8:30 at this remarkably comfortable little corner bar for awhile now. His stock in trade is Mississippi hill country blues, which doesn't sound much like blues from the Delta: it's deceptively simple and usually very hypnotic, often set to a fast 2/4 dance beat. Because there aren't many (if any) chord changes, players color the music with subtle changes in the rhythm, accents and passing tones on the guitar. Scott has masterful command of the style. For an artist playing idiomatic music, to say that it's hard to tell the difference between his originals and his covers is high praise, and sometimes it was hard to tell. Other times it wasn't, because Scott uses the style as a springboard for his writing and adds a lot more chords (and a lot more tunefulness). Running his acoustic through a little Ampeg amp and backed by an excellent drummer with an equally good feel for this kind of music, if you closed your eyes, it was as if T-Model Ford and his sidekick Spam were holding down the beat in some rundown Mississippi shotgun shack. Except that it was really cold outside.
Scott opened with what sounded like a tribute to Junior Kimbrough, thoughtful and meandering but with considerable minor-key bite, in the late, lamented bluesman's trademark style. Most of the songs he played afterward – again, it was difficult to tell what were his and what weren't – were short and fast. Scott's fingerpicking was fiery, fast and effortless, and so were his vocals. He sings with a drawl, but like his playing, it sounds effortless and authentic, not like the legions of trust-fund children from New Jersey playing Pete's Candy Store, pretending they're from the deep South. Maybe it works for Scott because his voice is strong: he's not exactly afraid of the mic. "In case you were wondering, this show was brought to you by whiskey," he joked. He was already working on his second glass of Jameson's by the third song of his set. "It's a multinational corporation."
It's not often that we run across someone who under today's circumstances might actually be able to reach a national audience. At this point, even most indie labels are keeping nonconformist musicians at arm's length. But there always seems to be an audience for the blues, even if it barely qualifies as blues and it's played by beerbellied fifty-year-olds from Westchester who think Eric Clapton is a bluesman. Being white, Scott could probably make a living introducing sedate suburban audiences to the music he loves so much, for $25 a ticket, at places too fearful to book someone like, say, R.L. Burnside. He'd be perfect on that bill coming up at the Town Hall next month: he's a whole lot more interesting than Cephas and Wiggins. When he moves on to that sort of thing, let's hope he doesn't forget he got his start in New York playing a midweek residency at a tiny, laid-back little place in Dumbo. That's where he is for the moment. You should see him sometime.
From: http://lucidculture.wordpress.com/category/reviews/
Will Scott Live at 68 Jay Street Bar, Brooklyn, NY 1/16/08
Scott is a real find, with a very high ceiling. He's been playing Wednesdays at around 8:30 at this remarkably comfortable little corner bar for awhile now. His stock in trade is Mississippi hill country blues, which doesn't sound much like blues from the Delta: it's deceptively simple and usually very hypnotic, often set to a fast 2/4 dance beat. Because there aren't many (if any) chord changes, players color the music with subtle changes in the rhythm, accents and passing tones on the guitar. Scott has masterful command of the style. For an artist playing idiomatic music, to say that it's hard to tell the difference between his originals and his covers is high praise, and sometimes it was hard to tell. Other times it wasn't, because Scott uses the style as a springboard for his writing and adds a lot more chords (and a lot more tunefulness). Running his acoustic through a little Ampeg amp and backed by an excellent drummer with an equally good feel for this kind of music, if you closed your eyes, it was as if T-Model Ford and his sidekick Spam were holding down the beat in some rundown Mississippi shotgun shack. Except that it was really cold outside.
Scott opened with what sounded like a tribute to Junior Kimbrough, thoughtful and meandering but with considerable minor-key bite, in the late, lamented bluesman's trademark style. Most of the songs he played afterward – again, it was difficult to tell what were his and what weren't – were short and fast. Scott's fingerpicking was fiery, fast and effortless, and so were his vocals. He sings with a drawl, but like his playing, it sounds effortless and authentic, not like the legions of trust-fund children from New Jersey playing Pete's Candy Store, pretending they're from the deep South. Maybe it works for Scott because his voice is strong: he's not exactly afraid of the mic. "In case you were wondering, this show was brought to you by whiskey," he joked. He was already working on his second glass of Jameson's by the third song of his set. "It's a multinational corporation."
It's not often that we run across someone who under today's circumstances might actually be able to reach a national audience. At this point, even most indie labels are keeping nonconformist musicians at arm's length. But there always seems to be an audience for the blues, even if it barely qualifies as blues and it's played by beerbellied fifty-year-olds from Westchester who think Eric Clapton is a bluesman. Being white, Scott could probably make a living introducing sedate suburban audiences to the music he loves so much, for $25 a ticket, at places too fearful to book someone like, say, R.L. Burnside. He'd be perfect on that bill coming up at the Town Hall next month: he's a whole lot more interesting than Cephas and Wiggins. When he moves on to that sort of thing, let's hope he doesn't forget he got his start in New York playing a midweek residency at a tiny, laid-back little place in Dumbo. That's where he is for the moment. You should see him sometime.
