In 1988, Jeffrey-Paul Norlander (now just Jeffrey-Paul) started a band called the Denver Gentlemen, which was a darling of the Denver club scene for about eight years, and was a revolving door of the top talent in that area, including David Eugene Edwards, Slim Cessna, Jean-Yves Tola, and Frank Hauser Jr. In fact, the original line-up boasted both Jeffrey-Paul and Edwards. In 1992, Edwards formed 16 Horsepower, and in 1996 the Gentlemen folded and Jeffrey-Paul joined 16 Horsepower for a short time, and then went on to form Hoitoitoi. Sound complicated? Well, that's the short version of a much more convoluted story. But suffice it to say that the Gentlemen are back. As Jeffrey-Paul is now putting together a new incarnation of this seminal band, the fine folks at indie label Absalom Recordings have seen fit to release a long-lost recording by the final line-up of the band.
"Introducing the Denver Gentlemen" was recorded live in Denver's Bug Theater, which accounts for the slightly rough and underproduced sound of the disc. But that is a good thing. The music on this CD captures the true essence of this band: rough around the edges. The recording, from 1995, has been gathering dust, but with the critical acclaim received by 16 Horsepower in recent years, now is the perfect time for the rest of the world to hear this music.
I've read about the Gentlemen for years but had no clue what to expect when I first put the CD in...but I was pleasantly surprised. The sound is very similar to that of 16HP in terms of the musical style, quirky vocals, the strange array of instruments (accordion, trombone, bass fiddle, and glockenspiel, to name a few), and also the religious imagery in the lyrics.
The album begins with "When the Lord, He Speak to Me," with the oom-pah essence of a German beer drinking tune. From there it moves to "Blue Parrot," which put images of old country Gypsy women in my head, performing a traditional folk dance, complete with hand clapping and foot stomping. In fact, much of this album is a melding of traditional Americana with an old-world flavor. One thing that separates this band from 16HP is the presence of female vocals on several of the songs, including "Midday Merry-Go-Round," with Valerie Terrie offering up a delivery that is reminiscent of some of Lotte Lenya's performances of Kurt Weill material. This song even features a repeated chorus of the old hymn, "What a Friend we Have in Jesus," as if it were sung by some sort of gruff street corner choir.
Throughout the album, the vocals go back and forth between all the members of the band, which in addition to Jeffrey-Paul and Valerie Terrie includes David Willey, Mark McCoin, and Jon Stubbs. This gives the CD a much more lively feel, and in the case of "The Potter's Field Special" the delivery and vocal exchange is something akin to a mini-musical or operetta. Also included is an early adaptation of "The Denver Grab," a song originally written by David Eugene Edwards which eventually appeared on 16HP's "Low Estate." The most "accessible" song on the album in terms of sound is the rollicking "Vulture Girl" with its layered vocals and upbeat tempo.
Other songs include an adaptation of "Holiday," originally written by Slim Cessna and Frank Hauser, Jr., and the final song, "All My Lady's Women," a haunting tune with equally haunting vocals.
This is a fun CD, and one that needs to be heard. But a simple rule of thumb: If you like 16 Horsepower, then most likely you'll like this one, both from a musical and historical perspective. But if 16HP is not your cup of tea, you might want to pass on this one as well.
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