This is the debut long-player from
Leon Redbone (guitar/harmonica/vocals/throat tromnet), a one-man folk/jazz enigma. Although it was incorrectly rumored that the artist was a musical visage of
Frank Zappa,
Redbone began getting notice during a stint in Toronto, Ontario, in the early '70s. For
On the Track (1975), he offers a uniquely authentic revival of turn-of-the-century melodies, including those of the Singin' Brakeman, Mississippi Blue Yodeler
Jimmie Rodgers ("Desert Blues") as well as
Fats Waller ("Ain't Misbehavin'"). However, he liberally applies the same notable technique to a wide array of pop standards from the likes of
Irving Berlin ("Marie") and
Johnny Mercer ("Lazy Bones"). The minimalism in the arrangements provides an understated delivery focusing on
Redbone's distinguished baritone vocals. This includes his self-proclaimed "throat tromnet" -- an orally generated device that sounds like a combination trombone and trumpet. Accompanying him are quite an aggregate of studio stalwarts -- such as percussionists Ralph McDonald (castanets) and
Steven Gadd (drums) as well as legendary jazz heavies
Milt Hinton (bass),
Garnett Brown (trombone),
Seldon Powell (sax), and
Jonathan Dorn (tuba). Their contributions are likewise discreet and otherwise tastefully augment the highly developed and melody-intensive arrangements. The Spanish inflections of "My Walking Stick" work subtly behind the artist, supporting rather than detracting from his cool and expressive vocals. The swampy and lethargic "Lazybones" reverberates the swelter of the Delta summertime.
Hinton's thick basslines amble along at an even pace -- while
Redbone's drowsy vocals contrast the high and tight brass interjections and sonic ornamentation. "Lulu's Back in Town" recalls
Rev. Gary Davis' talking blues, as it commences with a brief spoken introduction setting up the premise of the song. The manufactured sound effects of a mostly uninhabited pool hall are in essence a wink of the mind's eye for the listener. Famed jazz producer
Joel Dorn was at the helm of these sessions and his experience provides an organic attention to nuance. On the whole, the lack of over-production allows the material room to breathe without stifling the arrangements, yet with enough augmentation to adequately support
Redbone's more central delivery. ~ Lindsay Planer