Brooklyn, NY Duo’s Interpretation of Traditional Roots-Americana Succeeds Wonderfully!
Despite a peculiar name the music found on “Morning In a New Machine,” – the duo’s second album — starts with the old traditional “Cindy, Cindy,” and it’s infused with enough freshness and enthusiasm that it sounds like a new song. (The original Bob Wills and the Texas Playboys version is below Dubl Handi’s new one.)
Hilary Hawke sings lead and her wonderful banjo work is threaded gently and melodically throughout the tune. Her partner Brian Geltner provides drums, percussion, marxophone, keyboards and harmony vocal. The duo is obviously multi-instrumental and Hilary also plays nylon stringed guitar. What sets this duo Dubl Handi (Double Handy – a washboard company from the 1800’s) apart — is the presence on some tracks of a trombone (Sam Kulik) used quite effectively. That sound is evident on the opener.
The second track is an energetic. “Cumberland Gap,” is infectious and Hilary’s vocals are wonderful on this. Sometimes it sounds like there is more than one banjo playing and the recording itself is pristine. This is first class Americana and its unorthodox approach in arrangement is a delight. Nothing is over done, over played or over cooked. If this was a steak it’s seared medium well. Ernie Vega is probably the reason it sounds like there is more than one banjo – he provides additional acoustic guitar, as well as, Jon Ladeau. It all works on a high musical level.
“Ida Red,” continues with Hilary’s high enthusiastically strained vocal that is on target. Her vocal is urgent and exciting like the old fashioned singers who were so into their music that their vigorous presentation infused it with so much torque. This is exactly the way this kind of song should be sung. Not polished by a singing teacher’s perfection, or an opera singer’s exactness. It requires tiny surface scratches to make it authentic. It needs a little dirt, a little soil and mud.
(The second audio sample above is the original Bob Wills and the Texas Playboys 1936 version that was re-released in 1947. The song obviously, was always great)
Hilary uses a more buffed vocal approach with “Red Rocking Chair,” and the attempt by Dubl Handi is to showcase their abilities at turning traditional melodies into modern-day “traditional” interpretations. Young people could easily appreciate these versions. Jonny Lam provides subtle pedal steel that cries just under the surface and is quite a dramatic addition to the performance. Hilary has enormous interpretative talent and Brian’s percussion never intrudes, yet — it adds personality to the flow of the song. I am four songs into this album and I am enjoying it.
Opening with fast banjo licks “Flop Eared Mule,” is a high-octane toe-tapper as they used to say in the old days. The interaction between banjo and acoustic guitars is uplifting. Instrumentals are not as popular as they once were – but, this is fiery and it’s exciting. If you hosted an Americana-Roots radio program this would be the ideal closing song for a show. On the album, it’s ideally placed as a bridge between the vocal songs.
Hilary Hawke also penned two originals for the collection and the first one is “No Sleep,” — sample below — which shows how Hilary can write a song that sounds as if it were actually written during the Depression. The musical break has a Beatle-esque break that is a surprise and ir too — is refreshing. It fits perfectly into the melody. Once again, Sam Kulik’s trombone is featured along with the bright banjo solo that Hilary provides. She sings it sadly but in a reflective manner that doesn’t allow the song to slip into a maudlin sound. The song has a a tad of an upbeat flavor and I found it to be a highlight on the album. Paul McCartney could easily sing this song and you would think he may have wrote it – it’s that good. It has that Mary Hopkin “Goodbye,” sincerity in it — a beautiful song McCartney wrote and gave ro Hopkin. (Hopkin being the young lassy who had the hit with “Those Were the Days”).
Up next: a song filled with energetic banjo and harmony vocals – it has freight train barreling down the track – “Don’t It Get Trouble In Your Mind,” pulses melodically with what could be described as country-blues. This album is nothing but energy. Hilary’s vocals are not necessarily upfront but when she sings lead it has a clever distance that imitates old fashioned recordings. As if it may have been a field recording by archivist Allan Lomax. I can’t get over how purely roots-oriented Hilary’s voice is. It’s ideal for this kind of music.
“Half-Shaved,” immediately begins with a rousing melody and splendid interactive instrumentation. It’s a short two-and-a-half minute instrumental that acts like a cracker, or piece of chocolate between wine tasting. In this case, a small cookie of a melody between vocal songs. Then comes Hilary’s second original – a more commercial effort with a barber-shop quartet type support and a humorous lyrics. “Driving Away the Blues,” has a superb up tempo melody with dominant banjo and acoustic guitar. Far more modern in approach than any of the other tunes, it has an attractive chime and it’s hook-filled.
“Jim Along,” is another short instrumental bridge — a song with non-lyrical “singing.” It has the type of attractive sound that The Village Stompers had when they released their masterful 1960’s instrumental hit “Washington Square.” That tune was a blending of folk-banjo and Dixieland that was marvelous and invigorating for its time.
Beginning with the sound of a train, and gently strummed acoustic “The Train That Carried My Girl From Town,” starts to pick up speed as it progresses. The longest song on the collection and sung by acoustic guitarist Ernie Vega — swathed in traditional dust and it’s sweet. This song is like a spiritual, church music with coal and steam. The acoustic guitar by Ernie is dominant throughout — the backup vocals capacious. This song will wake you up in the morning. Great little story in the lyric too.
Closing out this collection is “Let Me Fall,” which sounds like it was recorded live somewhere with the microphone set a distance from Hilary. What the song depicts is the raw, rootsy, old-fashioned up-front and personal tradition of playing in someone’s living room or front porch with a jug and an old sleeping bloodhound at your feet. It has personality and it’s all about how music can bring many personalities together through their voices, their fingers on strings and skins, and tapping feet. What more does a person need to find some peace? You’ll find it on this album. “Morning In a New Machine,” – for me, it succeeds.
Produced by Brian Geltner the songs were recorded where? Brooklyn, NY!!!!! Are you kidding me? I am going to have to applaud this effort even more and I’m sure people in Appalachia, Virginia, Tennessee and Kentucky will be shaking their heads in disbelief and applauding loud. These musicians learned their lessons well.
Website: http://www.dublhandimusic.com/
FaceBook: https://www.facebook.com/DublHandi/
Bandcamp: https://dublhandi.bandcamp.com/album/morning-in-a-new-machine
Photography: Color pictures of duo from CD: Brian Geltner // Portrait picture in review by Jim Motavalli
Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request.
John Apice / No Depression / November 2015