If you didn't know better, you'd think they'd perfected time travel. Because here you are, back in the '40s, listening to real live big band swing. It's got the piano, the cymbals, the timpani, the vibes, and the upright bass. (No horns, but apparently we don't need them.) When else could this be but the '40s?
Jason Harms has this down. His rich, deep, resonant voice pauses in the right places, lingers on the right notes, makes you believe down to your tiptoes that this was what he was meant to do. And it may just be true. He covers show tunes ("Lida Rose" from The Music Man and "Surrey with the Fringe on Top" from Oklahoma) with the same easy assurance he shows on his own work. His voice could be seen as a bit theatric by some, but what better medium is there than old-style swing for such a voice?
To be sure, the other musicians are just as skillful. Don Stille's nimble fingers bring the piano alive, Jeff Brueske's guitar flawlessly underlies most of the songs, Paul Babcock's drumming is perfectly suited to the mood, and Jesse Harms' upright bass underlies it all. Additional players add fullness to the mix on some songs, with Isaac Harms on drums, Christopher Fashun on vibes and percussion, and Jason Harms on guitar (are we detecting a name trend here?) .
The track list is split almost evenly between original songs and covers. The opening tune is "Here's One," a traditional hymn that lends itself well to the swing vibe. There are a couple of instrumentals ("G-Jive" and "Search for Sumner," which was developed in the style of Mancini's chase songs according to the liner notes) in addition to the aforementioned show tunes. Harms also draws inspiration from his wife ("Girly Girl") and daughters ("Secure," written as a lullaby). The remaining tracks were written using a poem written by John Piper ("Leaning into You") and the stories of a coal miner ("Sixteen Tons"). The closing hidden track is a barbershop quartet rendition of "Lida Rose."
The liner notes to Swing Hard Swing Often are executed just as skillfully as the music itself. Each song has its own note, revealing original source or inspiration, which is helpful in understanding the songs in context. Photos of the band in action adorn every page.
Then again, it's hard not to be impressed with a guy who writes lullabies like this to his little girls:
There is no need to fear, my love.
You're safe with me, secure.
I have, I do, I will always provide, be assured.
When all is mine, and I love you, then all is yours -
The blue of the sky, the strength of the sea,
The light of the fire, the warmth of me.
In all cases, the music is highly polished, almost too much so. You almost want to hear some tiny little error, some small smidgen of a mistake, somewhere, but it's nowhere to be found, unless you count the hijinks at the end of the hidden track. But does anyone really believe that sort of thing isn't just as rehearsed as the rest of the CD? Debatable.
Aside from that nitpick, this is one smooth, enjoyable ride. In a surrey with the fringe on top. After all, "the wheels are yellow, the upholstery's brown, the dashboard's genuine leather, with isinglass curtains you can roll right down in case there's a change in the weather." So kick back and enjoy the view.
4 tocks
Other coverage for this album
The Phantom Tollbooth October 1999Reviewed by Josh MarihughWhat comes to mind when I hear this disc? My girlfriend and I, in full formal wear, sitting in a candlelit restaurant, while this music plays softly in the background. The sound is very reminiscent of acts such as Tony Bennett and Frank Sinatra, and just seems like it would fit in such a setting. Lyrically, there are less overtly "Christian" songs than the band's earlier album G as in Men. The…The Phantom Tollbooth March 1999Reviewed by Steven S. BaldwinHave you ever wondered what Tony Bennett would sound like if he had sold out to Jesus instead of Vegas? Or even if the Chairman of the Board himself, Frank Sinatra, had found faith and turned his talent and attention heavenward? Jason and the Gmen's swing outfit is about as near as you'll ever get, short of Harry Connick Jr.'s imminent conversion. In fact, there is nothing in the Christian…
