I keep hearing the same thing about this CD: “I didn’t know what to think the first time I played the C-Nuts. Now it’s one of my favorites CDs.” These guys play traditional jazz versions of rock hits they grew up with—Dire Straits, The Pretenders, Joe Jackson, Peter Gabriel, all that. Every song is so transformed you’ll think you’re hearing it for the first time. Up front, Patrick’s powerful vocals blend Joe Cocker and Louis Prima. Behind him, four top-notch jazz guys stoke the fire. Recorded with see-his-tonsils clarity—the drums, bass and congas punch through with kickass dynamics. Clarinet and sax have that two-feet-away, wailing, live edge. Be sure to check out the band’s MP3s on our website. This is one not to miss! (#07752)

For more info on the C-Nuts, go to
http://www.wescrawford.com/mythology.html

The C-Nuts:
Pat Stacey, vocals
Steve Sachse, bass
Wes Crawford, drums/percussion
Jon Ozment, piano/organ
Scott Young, soprano & alto sax/clarinet/flute
with guests:
Derek Willie, organ (4)
Steve Bloom, congas (7)
Ariel Francis, banjo (3)

TRACK LISTING:

REVIEWS:

Cadence:
reviewed by Richard B. Kamins

Some of you may remember Saturday Night Live’s Bill Murray and his lounge singer sketch, where he would be performing in a ski lodge or at a college reunion. Along with a Jazzy pianist, Murray would take pop songs and skewer them in a smarmy fashion.

On my initial listening to Blitzkrieg Bop, I had a sense memory of the Murray act. However tongue-in-cheek this approach may be, The C-Nuts really manage to pull it off with aplomb. The quintet’s take on Dire Strait’s “Sultans of Swing” uses the open feel of composer Mark Knopfler’s version and makes it Jazzy. Pat Stacey’s vocals remind me a bit of Buddy Miles (drummer-vocalist with The Electric Flag and Jimi Hendrix).

There are lots of soul mannerisms that come to the forefront on Elvis Costello’s “Every Day I Write The Book” – the hoarse vocal style, the bending of syllables, and more. Sting’s “Murder By Numbers” has a dramatic opening then drops into a boppish swing piece. I like the stark, cool-Jazz approach to “Shock The Monkey” though it loses some of the tension inherent in composer Peter Gabriel’s version. The tune features strong piano work from Jon Ozmont and smart rhythm section play.

Other highlights include The Clash’s “Jimmy Jazz” which gets a clever New Orleans-tinged arrangement. Gary Numan’s “Cars” sounds like a McCoy Tyner piece and includes strong soprano work from Scott Young. The title track, from the repertoire of The Ramones, lives up to its name and swings like mad. It totally loses any of its punk-rock associations but still has some power.

...Stacey’s blues-drenched vocals are a plus and the band plays quite well. At times, it really does sound like a put-on. Have some fun with the rock purists in the crowd and give them a taste of the C-Nuts.

November 2001