Published on Feb 25, 2005
If you were to make a decision about this album based on the
cover art you would just toss it in the can. Hopefully no one will
pass up this band’s work just because of cheesy graphics. At first
impression, you might think Jumpin’ Juba a bit dopey. Once you give
it a chance, though,
Bumpity Bump is an album of old-time “haus” blues done in a
new and refreshing manner.
With what’s described as a New Orleans party sound, the
indie-band Jumpin’ Juba is a festive collaboration primarily
between two characters, Steve Hurl (guitar and vocals) and Bruce
Ward (piano). Each has a history in the blues scene, and together
they have established a style of performing that is so fun and
energetic that it’s easy to get caught up in their enthusiasm. They
add secondary performers with Brian Flan on drums and Chris Denune
on bass.
Bruce is the boogie-woogie piano man. His nimble fingers fly
across the keyboard on “Fixated Woman.” The song is chock full of
hard-hitting notes and light-hearted lyrics like “I got a fixated
woman with a one track mind / she got me hot and bothered but I
like it just fine.” The words go on to describe the need for
pharmaceutical enhancements so he can keep up with this crazy
woman. The fun-loving nature of this tune makes it obvious the band
doesn’t take itself too seriously.
The talent, however, is worthy of earnest attention on “Four
Footed”, an instrumental piece. It kicks butt with the rockin’
piano and Bruce’s jivin’ abilities on the piano are exceptionally
strong on this one. “Bruce’s Boogie” is another instruments-only
number. Lone pianist Ward plays both parts and does it with such
little effort that you don’t even realize that he has
single-handedly performed what was originally arranged as a duet
piece. I liked the multi-leveled capacity demonstrated, further
evidence of the potential of this accomplished pianist.
Steve is the jammin’ guitar player and “Back Door Blues”
highlights his ability to pound out catchy chords that make you
want to bounce around on the dance floor. It has a bit of hillbilly
flavor to it, pulling in some of Steve’s country influences. As a
kid, Steve created his own comic strips — perhaps that history
influenced silly tunes like “Funny Farm.” The corn-ball antics
exemplified on this song also reverberate through the entire album,
but this somehow does not diminish the finger-snappin’, toe-tappin’
good time you will have. As a whole, Hurl’s guitar talents take a
backseat to the keyboard ministrations of Ward, but nonetheless,
you will be well entertained by Hurl’s resounding blows to the
acoustic, electric, six-string and slide guitars. He additionally
contributes the vocals, which are unfortunately a bit gritty at
times, but it’s easy to ignore that shortcoming because the music
on this album is full of life and charisma.
Combine great music with the band’s intelligent sense of humor
and it adds up to a charming album. Although it often comes off as
a bit goofy,
Bumpity Bump is still a razzin’ good time.